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Flora Klickpiann

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London, 4 Bouverie St. E.C.

To

to whose kindl)- interest and help

she owes so much, this little book

is gratefully and affectionately

inscribed by

Flower Pictures.

NEW V(

botanj

F©2'tll/¥DT£1

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Jilor of "The Girl's Own Paper and Woman'^ Magazine.

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TllKSli articles were first published in The Girl's Ouii Paper ami
Woiiiau's Magazine. They were started with the idea of atisvveriiii;
under one general heading a number of queries that had come to me
through the post, from readers who were anxious to know how to paint
flowers, and )-et were living out of reach of Art Schools and Art
Teachers. ]^ut the first article proved so exceedingly popular that,
instead of satisfying the inquiring correspondent, it onh- w hetted her
appetite for more. Where the reader had sent one quer\' before, she
now sent half-a-dozen all arising out of her increased interest in the
subject of flower-painting.

And matters were further complicated whenever we reproduced
one of Miss Angell's Mouer Pictures on the cover of the magazine :
thousands of readers were immediately fired with the ambition to
paint similarly beautiful groups and flower studies. And of course
they wrote to the Editor to know how it was to be done !

I asked Miss Angell if she could give us another article, and she
did so. Then we set to, and discussed a third and a fourth, and as
we went on we saw yet further possibilities.

Each article found an increasing number of admiring readers, until
by the time we had got to the end of the series, it seemed advisable
to issue them in book form, as our back numbers were out of print.

I think this book will appeal, not only to the amateur artist, but to

.j:ii

every flower-lover, irrespective of ability to draw a leaf or paint a petal.
The mere faculty for reproducing on paper or canvas what is placed
before us is not everything. The ability to see the beauty that awaits
discover}' in the wayside weed, to feel the glory of the colour in the
depth of a rose, to find delight in the severe outline of a blackthorn
branch or in the grace of the hazel catkins, or the ruggedness of an
apple bough — these are satisfactions that cannot be measured by an
ordinary rule, nor defined by ordinary speech. They are worth more
to us individually than the most faultless technique.

To love the little things that God has made cannot fail to bring us
a step nearer to the Creator. And Miss Angell's " talks " help us to
see these little things — the ground-ivy flower, the jasmine twig, the
crimson on the back of the rose-leaf, the beauty of the dry dead stalks
in the November hedgerow — ^just the commonplaces that we might so
easily pass unnoticed, the commonplaces that become wonderments
when we do notice them ; the little things that fill us with amazement
at the immensity of their beauty, once we really look at them. The
trouble with so many of us is that we simply do not see.

For those who not only have the seeing eye and the appreciative
mind, but also the responsive hand, this book will be a mine of delight
and a storehouse of helpfulness. The little bits and fragmentary
sketches will suggest .so much, and induce even the most diffident to try
their powers ; while the finished pictures give us an ideal to strive after,
and show us how far removed is the flower-painting of to-day from the
stiff, unnatural, younglady-like productions of our grandmothers' daj'.

Two pictures by Hayward Young are also included in this volume,
showing the Flower Garden in Ital}- and in Holland.

kr"

<^»

'Neath cloistered boughs, each floral bell
that swingeth
And tolls its perfume on the passing air.
Makes Sabbath in the fields, and ever
ringeth
A call to prayer.

Your voiceless lips, O Flowers, are living
preachers.

Each cup a pulpit, and each leaf a book.
Supplying to my fancy numerous teachers

From loneliest nook.

Were I, O God, in churchless lands re-
maining,
Far from all voice of teachers or divines.
My soul would find, in Flowers of Thy
ordaining.
Priests, sermons, shrines !

//orace Smith.

Vi'Icts, sweet vi'lets a penny a market bunch!

u^.

's

VK^VjC^^I)

s>

fgV^

long streak oS

every ma
quick
About the (I
intf square
thick
By ashen roots th
violets blowf.

nd

When the Editor asked me to send a little article on
painting violets, I was very pleased and proud at the
prospect of writing on so delightful a subject. But now,
as I sit with a formidable new writing-pad before me, and
a nicely-pointed pencil ready to begin our talk, I must
frankly own my pleasant task confronts me with difficulties
I had totally unforeseen.

" How I paint violets ! " Must I confess — and thereby
perhaps earn the scorn of my readers on our very first
introduction — that /r,i//r I don't know} I simply look at them with
loving but very critical eyes, try to study the form and construction
of my charming little models, every line and turn of the dainty
petals', and then endeavour, honestly and humbl>', to put my impressions
on paper.

I remember a girl of my acquaintance running after me in the street
one day, saying, " Oh, Miss Angell, will you please tell me how to make
a green for rose leaves ? " And I think her respect for me as a flower
portrait painter considerably diminished because I had not a formula
(like a chemist's prescription, or a cooking recipe) to hand over on
the spot !

A green for rose leaves ! .\\e, or for violet leaves either ! An
earnest and intelligent ob.servation will show us their infinite variety of

^ V^®l®i lb J

{ull ol tears;

Arc they wet,

Even yet

With the thoughts o! other years?

Or with gladness are they lull,

For the nitiht so beautitui.

And lonUinti lor those Tar-off sphere

;s?

Violet! dear Violet!

Thy blue eyes are only wet

With ioy and love of Him who sent thee.

And for the fulfillinii sense

Of that islad obedience

Which made thee all that Nature mt

!ant

thee.

colour, a variety not only in themselves, but also
largely dependable on the weather, atmosphere,
their surroundings, and last, but not least, on
the temperament of the student himself, for we
do not all see with one pair of eyes, and
it is well for our individualitj' that this
should be so.

Flower- painting is a most delightful
study, and within the reach of us all. Those who are fortunate
enough to live in the country can find most charming material for
their sketches in the hedgerows, while for a few pence the town-
dweller can purchase beautiful blooms in the street.

" Oh," I hear some one say, " but I have had no lessons, and
one must have a few hints from a good master, just to show one how
to start ! "

Never forget this, j-ou /laz'c a great teacher — the greatest Art teacher
of all time — the instructor of the giants of ancient Art, as well as the
leader and guide of the humblest student of to-day — Nature herself!
We are all, the highest and the lowest, her pupils, though in different
classes, according to our capabilities, perseverance, and natural aptitude.

Although I would not for one moment depreciate the advantage of
help and criticism from an experienced artist, I repeat emphaticall)' that
much can be accomplished without any such outside assistance. We
are even more likely to attain originality by working our way through
our own observation, and by struggling with our difficulties, than by
slavishly following the method and style of any particular school.

No doubt an " easier way " is to call at your local art shop, and,
after turning over a folio of Studies (some indifferent, some really
beautiful reproductions of extremely clever work), select one that
appeals to you, and then, by slavishly copying each petal, and every
brush-mark, produce a copy that is reallj' very prctt}-, and very like
the original.

Relatives as a rule are lenient critics, and the chorus of flattery
singing the praises of your beautiful " apple blossom," " wild rose," or
whatever it is, is very pleasant to hear, and urges you to fresh efforts
in the same direction ; but can you tell
me you have learnt anj'thing by this ?
Have you approached the least bit
nearer to Nature and her moods ? You
have simply been using the brains of
other people, and what is that but the
worst form of piracy ?

Therefore let us leave our copies
behind, and go straight to dear Nature
herself for our inspiration. To do good.

^ Violiii by 31

honest work, we must be full of
enthusiasm for our subject, and who
would not be enthusiastic on a bright
March morning, when the joy and
vitality of awakening spring, the thrill
of delight at the passing of winter,
is coursing through our veins ?

Following the advice of the
famous cookery book, to " first
catch your hare," let us start in quest /

of our little models. Let us don our
thickest boots and shortest skirts,

and, armed with a basket, and an ancient pair of leather gloves,
in which we may grub delightfully in damp earth regardless of
consequences, brave the muddy lane, with its wild, untrimmcd
hedgerows, high banks, and deep ditches.

There, in a tangle of frost-tinted ivy, red-brown beech leaves,
feathery moss, prickly brambles, and lichen-coated twigs, we shall
surely find the objects of our search.

How beautiful they are in their natural environment ! We feel
a certain sadness in taking them, however tenderly and lovingly, away
from so much beauty. But the wind is cold and searching, the rain-
clouds are hurriedly chasing each other over the cold, clear sky, and,
however anxious we might be to make a study of the dear thino-s as
they grow, it would hardly be wise to risk the consequences, especially
as, to be on a level with our subject, our feet would probably have to be
immersed in the boggy water at the bottom of the ditch.

What an infinite variety of colour we see in these little denizens of
the hedge bank, from creamy white through delicate shadings of mauve,
to deep purply blue !

And let us notice, for future reference, the wonderful effect the

changing sky has on them, perhaps more especially on the leaves. That

great inky rain-cloud throws a cold grey shadow, and everything reflects

a sombre hue ; but now the raindrops have fallen, and the bright

spring sunshine beams forth again, the violet leaves,

glistening with liquid diamonds, are dancing with delight

in the breeze, a golden green that would defy the

brightest mixture of emerald and aureolin our palettes

could afford.

Do not be in too great a hurry to make " pictures " ;
we must walk, or even crawl, before we can run ; and a
k\v careful drawings in pencil, or studies of single
flowers in colour, will teach us more in drawing than
an elaborate group. A musical student would not
dream of attempting the grand chords of Beethoven,

A ViLoEet by &

3^5^

or the delicate, intricate harmonies of Chopin, without a pre-
liminary training in simpler studies ; we must learn our tioffs
before we can embellish them with expression and tone.

If we start an ambitious painting, we arc led away by the
difficulties and delights of colour and composition, and so
are apt to disregard the drawing, without which our work
cannot possibly be convincing or true to Nature. The skilled
artist who can produce a fine stud>- with broad touches of
colour and wide effects of light and shade, could never have
attained this apparent ease and " slickness " of execution without
many and many an hour of patient study.

But here we are at home again, and if we arc not simply bursting
with enthusiasm to begin our study, we had better follow Mr. Punch's
advice- — "Don't" for "without enthusiasm nothing can be accomplished
in .Art."

I will premise, at this season of the \-car, when everything is being
overhauled and " redded up," that our colour boxes have had a careful
wash and " spring-clean," and that those pans of colour that have taken
unto themselves a gritt)', grimy surface have been banished for fresh
ones. The following list might be u.seful to those who contemplate
restocking their boxes : Rose Madder, Orange Vermilion, Light Red,
Brown Pink, Cadmium, Aureolin, Lemon Yellow, Indian Yellow, Yellow
Ochre, Raw Sienna, Raw Umber, \'anci\ke Brown, Cobalt Blue,
Antwerp Blue, Emerald Green, Mauve.

A fresh china palette is a great delight, but if you do not possess
one, and the japanned lid of your box presents an aged and " mottled "
appearance, that defies even salt to remove, borrow an old white plate
from the kitchen instead. See that your water-pot is freshly filled, for
the brightness and purit\' of your study depends largely on keeping
your colours pure and clean. Our outfit must also include some fresh
white blotting-paper and a small sponge, onl\- to be used in case of
dire necessitj- !

A side light from the window of your ordinary sitting-room will give
\()U a very nice effect of light and shade ; be
careful, however, unless, like my.self, \ou are left-
handed, to let the light fall from the left side,
so as not to have the shadow of your hand on
your work.

Now notice very carefully the construction of
the flowers. They are composed of five petals,
two narrow ones standing up at the back, two
(wing-like) at the sides, and a broad one below,
curving up at the base to form the cm-ious little
hood at the back of the flower, surrounded b\'
delicate sepals of green. If wc Inok deep tiown

"^^

(\

I do lovt violets.
Thi-y ti-n .1 history of .\ woman's low;
Thcyopi-n with the oArlicst brr.Ath ot sprini<:
Lc.\d .\ sweet lite ot pertume, dew and liijht.
And il they perish, perish with a siiih,
Delicious as that life.

L. I.. L„n,i,n,.

into the heart of the flower, the bright little orange

" e_\-e " gives us a beautiful contrast with the purple

tones, and we must notice as well how the petals

pale at the base, and how beautiful)}' they are veined

with purple.

ILy^SBSi^' Xow begin, verj- lightly, With a soft pencil to

A make j'our sketch. First indicate the general pro-

I I portions and direction of the stems (the latter

require as careful drawing as the flowers), then draw

the petals, doing your utmost to portraj' faithfully

the form and character you see before you.

For a water-colour, reduce this pencilling with soft rubber, or a bit ot

household bread, to the faintest possible outline, just for guidance, for

the contact of water with a strong pencil mark will set the latter into an

almost indelible line.

The only colour at all approaching the
brillianc}' of the flowers is mauve, but as this is *" v.* /

an aniline colour, and a very strong stain, I must
warn you against its indiscriminate use. Cobalt "*''--

blue and rose madder is a vevy good mixture,

useful in shadows, which must be kept trans- ' - -<

parent and warm.

^

To look at our subject occasional!}- with
half-closed eyes helps us great!}- to a better
understanding of the relative value of tone ; we
see the object before us in broad masses of light
and shade, without being unduly influenced by
minor detail.

.-\ ver}- easy pitfall for a beginner, as I
know from my own e.Kperience, is that, in the
desire to make our study forcible and strong, we
get our shadow-s too black and hard, thus pro-
ducing an artificiality absolutely fatal. Hold
some black object, such as a penholder or ruler,
up before our group, and notice the relative
difference betw-een that and the w-arm deep tones
of purple and brown in the shadows.

We must try to put on our colours with
slow deliberate touches, bright and clean, for
repeated touching up and "niggling" will produce
a dirty, muddy effect and a woolly texture. How-
difficult it is I know full well. We start our
work w-ith a certain amount of confidence, for

X:,

Primroses (*rcw in the lonj* L^rccn grass,
At the Soot of the chosen tree;

And the scent of sweet violets filled the ai:
Like odours from Araby.

A yio'Je-i "by a
■Mo^i:.y '

^iusia

the sheet of plain white paper holds infinite
possibihties, and then, after, perhaps, two hours'
patient labour, we look at our efforts with
disappointment and dissatisfaction. " A failure ! "
we say ; but is it a failure? If our attempt has
brought us into closer contact with the beautiful works of God, and
a humbled feeling of our incapacity to reproduce them, is not that a
lesson in itself? And is it not true that when we are striving our
hardest, and feeling our limitations most keenly, we are doing our
best work ?

I remember long ago saying to a famous artist, " Oh, I wish I
could jusi once feel pleased and satisfied with my work I " " Well,"
he answered, in blunt but convincing language, " when you do, you
may just as well 'shut up' at once!" And he explained so kindly
and encouragingly that, as our powers of execution increase, our
ideals mount proportionately higher and higher, and that to be satisfied
would mean, not even standing still, but going back.

How those words comforted me in fits of despondency I cannot tell
you, and if I should ever feel particularly delighted with any effort of
mine, I shall look upon it as a most alarming symptom, and "shut up "
at once.

Also, remember that our fits of despondency are sometimes due to
the fact that we have overworked, or over-concentrated our attention
on our work, till we are physically incapable of seeing it in the right
perspective. In such a case, put it away for a few days ; forget about
it, and then start afresh.

In conclusion, I will just add these words of Schumann, which,
though written for students of the sister art, seem to me to be
particularly applicable to painters as well —

" By industry and endurance you will always rise higher."

" Of learning there is no end."

0^

Wc arc violets bin
For our swcctne

, fa

Careless in the mossy shades

Looking on the ground,
.ovc's drooped eyelids and a kiss-
»uch our breath and blucness is.

Lci^h Hunt.

Sallow

*.'/

13

1 n' >.

14

3a!fodils that come
before the swal-
low dares

It is a joyous message that comes to us all at
daffodil time ; a message that, in spite of its
repetition \-eai- by )'ear, is always delightful,
always new. It tells us the gladsome tidings of
passing winter and glorious awakening spring ! We
hear and see it in all around ; in the twittering of
the birds ; the tassels on the hazel twigs ; and in
the bursts of pale, fitful sunshine through the leaden
cloudy skies.

The little golden stars of the celandine are peeping
out in sheltered corners on the hedge-banlcs ; in the gardens the
snowdrops and winter aconite are showing their faces through the
And take 'the winds melting of the suow — if, indeed, we have had an\' snow, but it is much
uty. more likely they awake from their long sleep to a drear}- and bleak

greyness characteristic of winter in our
vagarious climate.

On this bright morning the grc\ness is
passing away ; the sun is high, and rapidh-
gaining power in a sk\- of cold, tender blue ;
and what a joy it is to wander round those
still somewhat soddened walks in the garden,
and note our old favourites of happ)- spring-
time coming into their own once more !

Snowdrops and scillas are swinging their
white and blue bells to the breeze ; tulips and
hyacinths are bursting through the sod ; in
these clumps of grey-green spikes of the
daffodil, a big stout-looking bud shows here
and there, needing only a little warmth from
the golden sunshine to burst forth into a

perxc.l

[5

./■%

glory of gold of its own. There is a
feeling of joic de vivre, of re-aroused
energy, in this awakening of Nature
after her long quiescence. We feel it
coursing through our veins, and long to
be up and doing ; and now that our
spring favourites are disclosing their
beauty, and inviting us to try and
reproduce their charms, we must en-
thusiastically seize and use every
moment of leisure before their brief
life is over for another year.

Perhaps you may feel that, in some
of our talks on flower-painting, the
subjects chosen are not easy at all.
The violet is a very subtle little
flower to draw even, and still more
difficult to mass pictorially with good
effect. The rose, the most delightful
stud)- of all, is the worst floral sitter
I know, for she simpl)- won't keep
her lovely petals still for a moment,
and this, even to the advanced student,
is confusing in the extreme. Wild flowers wilt and fade, even before we
can hope to translate more than a suggestion of their fleeting beauty to
paper. But with many of the lovely bulbous plants that supply us with
such a display of springlike beauty, we have the great advantage of
patient sitters.

Take a jonquil, a single daffodil, a spray of narcissus, etc. ; put it in
water, and it is possible to make an elaborate study of it before it has
appreciably changed. This is of immense value to the student, and I
have often found even beginners make excellent drawings by carefully
observing the beautiful lines in these flowers.

I do not mean for one moment to imply that they do not afford an
immense amount of scope for the advanced student as well, far from it ;
he will find fresh difficulties, and therefore fresh delights, every time he
tries his skilled brush on their pure loveliness ; but the comparative
simplicity of the form presents greater possibilities of success to the
novice than a complicated arrangement of petals, as in a rose or
chrysanthemum, could possibly do.

The beginner must learn to put in what he sees before him ; the
advanced student must learn what to leave out. This sounds a parado.x,
but I believe most artists would tell you

it is true. We must learn, by long and

patient experience, y ^ j what is there, and be

jay tulips bloom
and sweet mint
curls around her
iiardcn bower,

lut she is sweeter

tha

the

int,

nd fairer than
ic flower.

nititticT.

i6

^■''^^'':^-M^^^:^^ ir^^ >T^^

'Wh-isi iJiiiiD tills

able to draw it carefully, before we

can dare to leave it as a mere

suggestion, and I want especiall)- to

impress upon you that we must learn

it b}- ourselves alone. Each pair of

e}'es, when they open on this world

of ours, have their own individual

way of looking at what they see ;

the decided preference quite 3.-oung-

children show for special colours and

forms will teach you that ; but this

latent individuality needs training to

bring it forth, and that rests with

ourselves.

W'e all know the story in the old " primers " uf

" E\-es and No-eyes, or the Art of Seeing." How

true it is ! Take, for instance, this narcissus. Ask

"Mr. Xo-eyes " what it is, and he will answer at

once " A white flower," and perhaps, if we press him

for details, to supplement this bold description he

will say, " It has six petals and a yellow middle." Ask him with what

he would shade the flower, and he will exclaim, " Win-, gre\-, of

course!" (I heard of a Frenchman once who said, "Black and vite
makes von good grey!") Ikit while he
is busy with his dirty, crude, inky
conception of this pure bloom, let us ask
the opinion of " Mr. Eyes," who has
meanwhile been studying the same flower
with enthusiasm and delight.

" White ? " he says. " Yes, but just
hold a bit of white paper near, and see
what a white ! How pure and delicate are
the dainty pearly greys in the modelling
of the petals ; I see cobalt blue, rose
madder and a lovely pure yellow in this
grey, but so subtly blended, that I am
simply longing to make a trial fif the right
proportions on mj' palette. Then how-
warm and transparent are the shadows, and
what a luminous yellow the reflected lights !
What wonderful drawing in the edges of
the flower ! How delightfully they melt
off indefinitely into the background in the
shadows, giving immense value to the
lights on the more prominent parts."

17

Now let us look at their respective studies side
by side. " Mr. No-eyes " has taken great pains with
his drawing ; even the slight veining in the petals is
faithfully copied ; the edges are carefully " made out "
^ against the background to " show up the flower well,"

^■'Jmf making it look as if it had been cut out and pasted

on the background. Everywhere the evidence of
painstaking labour, but what a poor dead thing that
flower is ! He has known by tradition he had a white flower
before him, and therefore, satisfied by that knowledge, he
has not used his eyes to see of what it is composed ; he
has not studied the wonderful difference light and reflection
can give, and it is quite beyond his comprehension that
the study of " Mr. Eyes," not nearly so elaborately finished
and stippled as his own production, should possess a strength
and an air of conviction entirely lacking in his own.

But nevertheless he will be obstinate
about it, and adhere to his traditions
and ideas with a firmness worthy of a better
cause. lie has been taught that a HI)- is white,
that snow is white, a rose is red, etc., and he
sticks to that teaching. Show him a painting of
a snow .scene, for instance, when the brilliant
glow of a winter sunset makes the snowy foreground
look dark by comparison with the greater light of the
sky, and he will say it is wrong altogether ; who ever
saw dark snow ? He makes no allowance for conditions
of light, the greatest factor in pictorial effect.

The family of " Mr. No-eyes " is a very large and
very conservative one ; his descendants will be with us
for all time, although perhaps with the advancement
of Art knowledge, and love and study of natural beauty
among us, they are less numerous than formerh-.

The habit of training the eyes can be acquired by
all, but it must be by our own efforts, it cannot be

taught, although the interchange of ideas with others Beside

is most helpful. Our impressions must be our very own, otherwise path
Art would possess no individuality and no originality. Therefore, Puts forth his head
as I have asked you before, do not value your own perceptive J,"^.*°" **""" "'"'*'
powers so lowly as to work from copies, however they may appeal to And findsthesnow-
you as works of art. Study the methods by which a good effect has
been obtained, note carefully an\'thing that appeals to you in the
composition and technique, and then, having learnt the lesson it can
give you — go and do something else ! Something real, and not seen
through another pair of eyes !

liardcr
crocus

visitant,
Mready baskin
the solar ray.

I8

Royal tulips sump-
tuously dyed,

Purple and ^old and
sanguine, striped
and sn\earcd,

pur

the

keen colour as a
bride
s in her u/hiteness.

Margarc-t L. ll'o,>,/s.

You have a wonderful opportunity

-. _ ♦> ~ among these beautiful heralds of the

m^ floral pageant of the seasons, and

■ ._ ' what a delight it is to make studies

f of their fresh spring-like beauty !

Snowdrop, crocus, narcissus, daffodil,

h_\-acinth, tulip, jonquil, follow in quick succession ; it is almost impossible

to keep pace with them with our brush, however diligent.

I cannot give you a special formula, or set of rules, for painting each
and every variety of these beautiful blooms, but here are a few
generalities we should keep always before us.

I want you especially to notice there is a great difference- in colour
in white flowers of various kinds ; some are a much warmer, more
}-ellowish white than others, as you will observe yourself by comparison
one with another.

Then do not forget to notice the consistency of the petals ; most
bulbous plants are rather fleshy, but in different degrees.

Again, note the surface texture of the petals ; the smooth satiny
brightness of the tulip or lily is quite different Irom the duller surface of
daffodil, narcissus, or jonquil.

Above all, keep your white bloom as pure and clean as you know
how ; let your lights be broad and simple, your shadows transparent and
warm ; look long and earnestly at your group, to ascertain where the
light falls most strongly, and concentrate on that as your principal point
of interest, rather than having little fidgety bits of bright light
scattered about all over the picture, confusing to the eye of the
spectator, although probably he
would be unable to tell }'ou what
is displeasing to him.

If you wish to study intelligently
and industriously the wonderful
varieties of colour in objects we are
accustomed to call " white," suppose
you take a white flower — rose, lily,
chrysanthemum, what you will — put
it in water in a white glass bowl
on a fresh damask tablecloth. Now
bring into your group any other
so-called white object you see around
you, a bit of carved ivory, a billiard
ball, a pearl-handled knife, etc. As

a pictorial composition this is a meaningless jumble of properties
with no connection one with another ; but as a study of relative

Yellow and purple and white.

Snow-white and lilac and gold
Crocuses, my crocuses,

Pccrinii from the mould.
It was only this morninj! early

That Sprinj* came by this way.
And the gifts she leaves for a token

Were only mine to-day.

tieorgt' Cotttrei.

19

1-

tone-values, could we but manage to reproduce what we
see, it would be a perfect tour dc force.

Tliis leads inc to the subject of backgrounds. Of course,
for picture-making light flowers undoubtedl)-
look most effective when arranged against something
dark and simple. The interest is, after all, in the
flowers, and if the background is treated elaborately
with detail and accessories, it will onlv detract from the
main idea.

Hut when I say a " plain background," 1 do not
mean an absolutel}- flat surface devoid of light and
shade ; this would give a terribly hard effect. The
shadows falling from the flowers themselves are of great
value. When you have arranged your group to your
liking, or allowed the flowers to arrange themselves
(usually the more satisfactory plan), try the effect oi
different tones behind to see which harmonises best
with the prevailing colour ; sometimes a bit of brown
paper even is most successful, sometimes a bit of
draper)-.

I myself have a prized collection of old bits, called,
most contemptuously, my "' rags " by the family ; most
precious and useful to me, though I expect any self-
respecting gentleman of the " old clo' " profession would
absolutely refuse to entertain the idea of a deal in such
rubbish. "There ain't one of them fit to make a duster
on ! " commented a lofty charlady who once got an
accidental peep at them. Bits of old furniture covering,
fragments of dresses long worn out, curtains, anything on which Old
Time has laid his mellow and softening touch. Washed out and
faded, worn and old, they nevertheless
possess artistic possibilities that braiul-
^ ., new silks and velvets never could.

Sometimes an old book or books will
blend beautifully with our floral studies.
I mean those lovely russety-brown calf-
bound volumes that have descended to
us from our grandparents, to which wear
and the passing of \-ears have given an

O white Wind-
flower with the
purple dyes

Your candour oT
innocence n%eets
mine eyes,

And bids the bowed
heart in me arise ;

You arc kin to the
little ones, hum-
ble and wise,

You

wly-born
the wild-wood.

'^Hp^»> added charm, so mellow and dignitied in
comparison with the gaily-decorated picture
board-bindings of to-daj-.

Old mahogany or oak furniture makes

a fine contrast, too ; onl\-, if the reflections in a polished
surface are not very accurately realised, the good effect
is lost entireh'.

The Over-Elaborated
Background.

It is always a great mistake to over-elaborate a
background ; let it be simple, and let the full significance
of its name be fully valued. It is a /;^?<;-X'ground, and
therefore receding behind the main interest of the
picture.

Be especially careful to avoid getting a hard tin-like
effect in the edges of the flowers when working against
anything dark. Let the edges of the receding flowers
on the shadow side melt bff indefinitely into the back-
ground here and there ; this will add strength and
vigour to your high lights.

A propos of our talk on tone-values in white, I was
struck with an example about an hour ago, on this cold
November morning, when the only prospect outside the
windows is a thick white mist enveloping everything
except a few trails of bare Virginia creeper near the
glass. On the breakfast-table had been placed a bunch
of white polyanthus narcissus forced into premature
bloom by the enterprising florist, who seems determined
of late years not to allow the beauties of the floral
world ta adhere to their own legitimate seasons. The
light from the window (what there is of it) is a cold
but pure one, and shows clear and transparent through
the petals of the flowers. But where they overlap
each other, and the rays of light are intercepted and
obstructed, the flowers look much darker against the
window-pane than the greyish white mist outside ; while
the brightest white of the whole is not on the flowers
at all, but a single spot of brilliant light on the highly-
glazed surface of the green Bruges pottery vase in which
they are placed.

This is just a little example of the eye-training I have been trying
to impress previously. We can learn a lesson from all we see around
us, and we are so apt to miss our opportunities in this direction I Why
need we think it is only possible to study Art when we are, so to speak,
'■ dressed " for the part, and, in a high-art overall, surrounded by all the
tools and accessories of our work, stand posed before an easel, brush
and palette in hand ?

This is, of course, the practical part of our calling, and very necessar)-
to its fulfilment ; but the mere translation of our ideas to paper or

■^'

~^.

and violet,

Pis a little too
cold for the
nightin^'alc yet:

hilomcl. he'll

not Tail you !

canvas is not the only way we ought to be studying Art. We must,
to be successful, make it a part of our lives, and it is astonishing how
it engrosses our whole being, and what a joy and delight this mental
analysis of tone and form will become.

Not even the busiest of us can say we have no time for it. As we
pursue our daily work, as we pass on our way through even dull and
uninteresting surroundings, there is much to see, and the commonest
objects can become things of interest and beauty.

Some years ago some very beautiful lunettes by the late Edwin
Abbey, R.A., were exhibited in London prior to their departure for
America, to adorn the dome of the Capitol of Pennsylvania. If I
remember rightly, they were subjects representing the industries of
the New World ; and one, especially beautiful, represented the Spirits of
the Earth bringing the riches of the oil wells to the surface of the world.
The idea was, of course, expressed allegorically. Beautiful female
forms with brilliant lights in their hands were rising from the ground,
and the effect of their light, transparent, white draperies, showing a
lovely, soft, indescribable blue against a clear sunset sky, was masterly
and wonderful.

A short time after I was in a smokj- suburban park at the evening
hour. Near by, one of our big main lines of railwav- passes over a high
embankment. A northern express rushed past, and there, against the
luminous sky, those clouds and wreaths of steam from the engine gave
me just the same effect I have tried to describe above, while the like-
ness to that beautiful picture was still further enhanced by the flickering
lights just appearing in the houses and streets near. One could forget
the prosaic side of the picture: the kindly indefiniteness of the shades
of approaching night had transformed those sordid-looking and ugly

Through

pril

mrosc

tufts, ir

ithe

green

bower,

The PC

r iwi

inkle

t r a i 1 c

d

its

wreath:

s;

And 'tis

my

faith

that cv

cry flower

Enjoys i

the

air it

breathes.

II ■

en/s-a

■ortn.

'Whan T;Hiio£ill£;

\

Long as
there's a
sun that

buildings into a mass of dark simplicity of
infinite value to the effect as a whole.

The builder of cities, the necessities
of modern civilisation, may spoil the natural
beauty of sylvan scenery, but cannot rob
us of atmospheric effect ; sometimes the
very murkiness of the smoky clouds of
manufacturing towns will give us an effect
of surprising beauty.

We have wandered some way from our
friends the spring bulbs pure and simple ;
let us return to practicabilit\- and the easel
and paint-box.

The Di!!iculty of
Yellow Pigments.

So far we have confined our attention
to white flowers ; suppose we try some
daffodils by way of a change. We shall
need to exercise great care in the study,
for most yellow pigments in water-colour
are very difficult to manage. In case you
have not yet found out all their weak-
nesses for yourselves, I had better put \-ou

on your guard against some of their little vagaries. Gamboge must

be shunned, and so must chrome, for, though brilliant in working, they

have a tendency to turn black with time. Some while ago I came

across a group of yellow narcissus I had painted and exhibited years

before. I hardly recognised it again. The flowers wore a dejected

brown paper hue on their poor little faces that

surely could not have been there in their early

days ; that wicked old pigment, chrome, was

^ responsible for the change.

Then lemon-yellow (a charming colour, and
absolutely indispensable for some flowers) has a
\^'' nasty trick of picking up on the brush if we

attempt to work another colour over it. There-
fore I usually find it better, when painting
< daffodils, primroses, and light yellow flowers generally,

to wash in lightly the modelling and shading of the petals
as if they were white ; and then, when dry, to put on the
yellow colour in a thin wash — lemon-yellow or primrose
\\ aureolin (according to the depths) — afterwards. This will

ensure a far fresher appearance than mixing the colours.
j\ Daffodils make charming studies, both in form and

I \ colour ; there is something so cheery and buoyant in their

>

23

1»*"

A spray of Ivy-leaved
Toad

Fla

suniu- \cllo\v, and so decorative in their- arrangement with
their own delightful bluey grey - green leaves. The
cockney flower-woman I usually patronise knows my
partiality for these leaves, for she always calls out
"Spikes, laidy ? " in a persuasiv^e tone if she thinks I am going by
without making a purchase. Ihit these self-same " spikes," though
the most charming and suitable accompaniment to their kindred
flowers, are very difficult to manage successfully. If you think they
look simple, just try even to cfrazv one, and you will see. If you look
straight into the face of a single daffodil, deep down into the depths of
its long trumpet-shaped heart, you will not find it easy to reproduce
its depths. Note carefully the reflected lights and quiet tran.sparency
with which it recedes from our view as it nears the base of the petals.

The crocus makes a good study, especially if we draw it growing from
its bulb. •

The snowdrop, with its delicate blossoming bells, also ; but neither of
these would appeal to me for the composition of a
picture, though charming as studies.

The culli\atcd h}-acinth, except the early Roman
variety, is somewhat stiff in growth ; but the lovely
wild bluebells, growing in riotous luxuriance in the
Maytime copse, make a wonderful study in colour,
the tender young green of spring-time acting as a
beautiful contrast to the indescribable blue mistiness
of the floral carpet at our feet.

Have \'ou ever noticed that these bluebells are
rather disappointing and hard in colour if you bring
them indoors, away from the glamour of green and
sky? But nevertheless they make a delightful
study, with plenty of scope for delicate drawing,
as do also lilies of the valley with their delicate
leaves.

Tulips have been vastly imiMovcd of recent
years ; how different are some of these lovely new
varieties, with dainty frilled edges, from the striped
yellow and red monstrosities so fashionable in my
childish da)'s ! But they are as changeable as a
rose, and need to be painted very quickly.

ut the

■ the

The
AvAi

Is not tc
he hyac

ini! shades:
carpet of the dry lea*
keep down
nth blades.

24

A study of
Blackthorn.

It is SO difficult to tell others how a thing is done, more
especially, perhaps, in painting than in any other Art ; for so much
depends on our own sense of beaut}-, and our own individtial
interpretation of it. If we were bound b)- hard and fast rules,
that individualit\-, an artist's most cherished possession, would
be lost.

Therefore I am endeavouring in these chats of outs, not to be
dogmatic, or to lay down any law or rule formed from m\- own
experience, but to impress upon )ou to learn all you can from
\-our own, and also to see the necessity for the cultivation of
your own emotions and thoughts, to the true realisation of your

subject, be it what it ma\-.

There can be no better teacher than Nature herself; no moie charm-
ing studies than the gifts she scatters so lavishly around ; we ma\-, of

course, learn much that is technically useful from a

group of "models" (cubes, triangles, etc.) set up

before us in approved School of Art fashion ; and

perhaps we may feel a certain amount of pleasure

and interest in bringing our study of them to such

a pitch of perfection and finish that it looks very

real and true. We have df)ubtless been training

eyes and hand with good effect ; but where has

been the enthusiasm we experienced when trying to

give our impression of the humblest flower ? Where

the delight we who love Nature must feel when ,'

we study the subtleties of colour and form in the

works of God ? \ v

This enthusiasm, this stirring, as it were, of our

very souls, must carry us into higher realms of

thought, and therefore uplift our taste to higher

things ; it is the creation of the very essence of true

ry bee that';
nging.

AD^H'^ ^fiii^:lii:ild

Art, and once this is understood and felt, technique and craftsmanship
will follow as a matter of course.

What a grand, what a great opportunitj- we have before us now
in the happy spring-time, when everywhere around bud and blossom
are entrancing us with their beauty !

" When proud-pied April dressed in all his trim
Hath put a spirit of youth in everything.''

us be up and doing, and take every possible opportunit\- for
Every moment is pre-

Let
study !

cious now ; there is so much to
do, and the life of the spring
blossoms is so fleeting, that
procrastination is fatal to our
purpose. In meadow and hedge-
row, wood, garden, and field, we
find our models in rich and
glorious profusion.

Look at this apple branch,
for instance ; a splendid stud}-
both in drawing and colour.
Just lightly sketch in, with faint
touches of a soft pencil, the
general form of the spray, its
direction, and the shape of its
clusters of flowers. Now look
at the flowers earnestly and long,
standing, or sitting well back
from your subject, and, with
eyes half closed, study the main
points of the whole. This will
enable you to see where the
light falls strongest, and therefore
to decide where the principal
point of interest lies. In every
picture, every study, there should

be one such point that attracts us first : just as, when we are looking
at a landscape in Nature, an interior, a group of people, or anything
else that comes within our vision, there is bound to be one particular
spot in the composition that arrests our eyes, and therefore chains our
attention first. Light is so all-important to our vision that where it
falls brightest is invariably the spot to which oiu" eyes are drawn.

Here, then, is our point of interest, but we
must not, of course, make its presence too
obvious, or the drawing will look forced and
unreal. Let us keep it as broad as we can.

Cowsli

P»

ol Spri

nii

,

With •

cluster;

i ol joy ye

liiiht ou

r lands,

And .

we itAthc

r your

fr.

iliran

cc in our

ha

nds

BCAI

Jty And

Ir<

a(£rAncc

bl

ossominii.

Cowsli

ps

of Spri

nn

Thoufih the >

rid tirows

old u

rith sorrow

And CAre,

There

's eteri

lal

Ireshm

ess

. in the air,

The

i

eladnc

ss

of God

to <

earth

will clintf.

■Vti A. /.....

26

I\-fjri}!.' ^ Qiaj'iBJil'il

T h"e y e 1 1 o «
wallflower,

Stained witl
iron broTvn.

Thomson.

and avoid " worrying " it by scattering
it with little meaningless bits of dark
colour : even its shadows are delicate
and pure, and how beautiful is the
almost transparent flimsiness of the
petals ! The flowers that are fullest out
are nearly white except for the creamy
yellowy stamens of their centres : and
you must notice how fragile is the
attachment of the petals to the calyx,
for this is a characteristic too charming
to be overlooked. If you liked to make'
some studies of the form of the
fallen petals, it would teach you much.

But to return for the present to our spray :
you will notice, except in the case of a branch
where the flowers are nearly over, that each cluster
of blossoms has still some unopened, or partly
opened, buds. These buds are generally the
brightest pink of all, and their strong colour is of
great value in enhancing the delicate purity of
the more advanced flowers.

Again, the notched and knotted branch,
and purplish brown shadows,
showing here and there through
the clustered masses of pink and
white, also gives a note of strength.
Then the little green calyx at the
back of the flower, and the }'oung
unfolding leaves will help with a
happy suggestion of spring green.
If you are ambitious, and wish
to paint a large spray, you will
doubtless find yourself confronted
with a difficulty with which all
flower painters have to contend,
and that is, the utter impossibility
of finishing your study before the
beautiful freshness of the flowers
has passed away. To work from
wilted or faded specimens is fatal ;
so, if you think your drawing is
likely to take you longer than the
short span of life your models
enjoy, I think you will find it a

ith its grevish lights

27

good plan to make a quick sketch of the whole gioiip, much
as I have suggested above, either in charcoal or in colour,
the general forms of light and shade roughly blocked in.
Keeping this before you for reference, begin the finished work
on a fresh piece of paper, getting fresh flowers to take the
place of the faded ones, only taking as much at each sitting
as you feel you can accomplish while the blossoms are fresh,
doing your utmost with this, adhering meanwhile to the main
idea of the first sketch.

This is the only way I know of making
a really finished study of an)'thing so perish-
able as apple-blossom, but, of course, it is a
method full of pitfalls for the unwary, and
the one I u.sed to find the most dangerous
was the temptation, when I took up each particular
group of blooin, to be so led away by the beautj'
of the cluster before me that I could not resist an
inclination to give each one equal prominence, and
ignore its relation to the whole study : a terrible bit
of patchwork was the result.

So we must have our first sketch constantlj- before
■ us, to enable us to keep our first impression fresh,
and then, when the finished drawing is nearing com-
pletion, it will want what an artist would call
" bringing together " ; in other words, simplifying in
effect to compose well as a whole, to bring back the
unison of idea of our quick sketch of the whole
branch. Here a petal, a whole flower, or even a
cluster of flowers, toned down so as to be almost lost
in the shadow ; an edge softened here ; a touch of
broad, bright light there ; this can only be accom-
plished satisfactorily with great deliberation and care.
Sometimes a good quick effect can be obtained
by working in " body " on coarse, dark brown paper,
such as you would use for wrapping up parcels, using
the colours and merging them together while wet,
much as you would if oil, and not water, were the
medium. The colour must be used as pure as possible, for, if mixed
with too much water, the effect would be extremely weak and poor.

When I first took up flower-painting seriously, I made some careful
studies of single flowers ; then tried two or three together, with a tint
washed roughly behind them as background ; but when, a little later on,
fired with an ambition to exhibit my work, I began to try my prentice
hand at picture-making, I found, for the first time, all the difliculties I
have tried to describe above. 'ihe temptation to jiaint each flower for

Arc you lightini! the fairies* gloomy tirots.

Delicate, fairy chandeliers?
Where are you shininii, forSet-me-nots 7

When are you cominti to dry your tears?

/••

: /',.;

28

1"^.

29

Blue !la(Ss, yellow flails, tlaSs all trcckled,
Which will you take? yellow, blue, speckled!
Take which you will, speckled, blue, yellow,
Each in its way has not a fellow.

C. Kosidli.

jA.p:rii^ii

nd

itself was strong within mc, although when tlic group was finished 1
could see there was something very much wanting.

Oh, those early studies ! I have a few of them still in ni\- folios ;
and after the lapse of years of practice, how crude, how hard and
" ed^ry " they seem ! And yet I have a sentimental feeling against
destroying them, both for the old-time memories they recall, and the
lessons they have taught. In all of them I can see this fatal tendency to
make too much of each flower individually, regardless of its true place in
the scheme of design of the whole.

I remember, when I came in from the garden with a lovely, freshly
plucked rose, how I could not resist the temptation to fit it into a space
in my group, where I could look right into the heart of its unfolding
petals, although, to take its place properly, it ought to have shown only
its profile or its back. As you may imagine, a vase filled with roses, all
pointing their little noses towards me, however carefully painted, did not
compose very well pictorial 1\-, and I soon began to see, if I wanted my
work to have any artistic value, I must work on very different lines.

In the course of business I have sometimes (rather unwillingly and
under protest) had to return to these earlier methods, when I have
been asked to undertake commissions for catalogues for well-known
horticultural firms. You will find your ardent horticulturist cares less

for pictorial effect than a rather " niggling " drawing of a show flower.

He may admire an artistic drawing himself, but the public, for

whom he caters in these books, does

not always appreciate any subtleties

of light and shadow composition,

but insists that each flower shall

show its own special characteristics

in the most blatantly insistent way

it can.

Well, these things must be done

sometimes, and done faithfully, with

knowledge and care ; but \ou can

understand, after a dose of this kind

of work, how delightful it is to let

one's own ideas run riot once more,

leaving these trammelled paths to get

back to the less stilted beauties of

field and garden.

I hope, when the spray of apple-
blossom is finished, you have still time

to make further studies of " The fair

profusion that o'crspreads the spring "

in this charming month of sunshine

and showers.

30

Jkp:rli'^ Gi'ilTlaTafI

^V

Primroses, anemones, cowslips, oxlips,
lady's smock, wood sorrel, and many other
blossoms star copse and field ; little pink-
tipped daisies peep through the lengthening
grass ; in our gardens wallflowers, forget-
me-nots, pol}-anthus, jonquil, and many
others are greeting us day by day ; while
just look at that lovely old wall — simply
glowing with purple and white arabis,
London pride, stonecrop and a host of other
humble though beautiful flowers.

Let us take this little bunch of sweet-
scented cowslips for our next drawing. I
would not try to make a completed picture
of them, for it is very difficult to mass such
small flowers with good effect ; but what a
delightful little sketch the}' will make, their
bright golden cups peering out each from
its sheltering sheath-like calyx of softest
pale grey green, a green unlike anything
else I know. Notice the stems and how
they differ from the more ethereal and
downy primrose stalks. On another page
in this book will be found a talk on
stems and twigs, giving the subject more
time and attention, as its importance
demands. In the meantime observe them

carefully, and note the difference thej' show in different varieties of
plants.

What a favourite the forget-me-not is with us all, with its hue of
heavenly blue, and its tender romantic name ! We must search the
realms of legend and fancy to trace the origin of this, for its original
popular designation was " Mouse-ear," simply a translation from the
Greek of its botanical name Myosotis, and supposedly derived from
the shape of its leaves.

The legends regarding the naming of the little blue flower
with its present charming name are endless. We all know the story of
the knight in the old ballad who lost his life when, at the request of
the " ladye-fa}'re," he plunged in the stream and was drowned while try-
ing to obtain a bunch of its blossoms of " brilliant hue " to di/nl in her
" nut-browfi hair" \ But perhaps the prettiest of all is the story told
to the children, that when the flowers were given their names by the
Creator of the world, one little flower forgot hers, and when she went
back, in fear and trembling, to ask it, she was told '' Forget-me-not^

There are endless other stories and traditions of this same flower,

The Buttercup is hkc a
The Marisjold is lik.

The Daisy with a sSoldc
And golden spreads

jioldcn cup
a golden f
\ eye looks

beside the rill.

31

J-Xij^'ii'iJ Gi5i-Jrliiiid

but as it is our business to paint it, and not merely
to study it from a sentimental standpoint, let us proceed
to business.

The shades of colour in the blossoms present a
great variety, some, generally those longest in bloom,
arc quite pink, and so are many of the opening buds.

I am generally rather averse to the use of Chinese
white in my floral studies, because, as a rule, it gives
a dull opaque look when mi.ved with other colours, and
so loses that transparency of effect which is a great
thing to aim at in flower-painting. But in the forget-
me-not I have found a touch of white mixed with the
blue very helpful in getting this exact tone of colour.
Cobalt used pure is too dark, and even when diluted
with water and a slight touch of Antwerp blue added,
it is not very satisfactory ; the touch of white, used with
discretion, will give us what we want. Do not forget
to give full prominence to the lovely little touch of
white, almost like a halo, surrounding the yellow centre.
The wallflower is another great spring favourite of
mine. What is more beautiful to behold than a clump
of them growing against a crumbling, old grey wall ?
Or, if we wish for an indoor study, put some blooms,
in all the glory of their colourings of yellow, orange, red
and brown, in an old blue china bowl, and note the effect I

I must plead guilty to a personal preference for these warm, rich,
russet colourings in the old-fashioned varieties we have seen and
admired in cottage gardens since our childhood, above the fanciful
magenta shades introduced of late years by the up-to-date florist.

Indian yellow, cadmium and rose madder, bright and pure as we can
'Tct them, give the right tones, with a touch of crimson alizarin here and
there, and even perhaps a little burnt sienna. Notice the deep purplish
hue of the sepals enclosing the unopened buds, and do not forget to tr\-
to reproduce the velvety effect of the petals : a slight touch of cobalt
delicately washed over the lights will sometimes help to give this " bloom.
The long leaves clo.sely embracing the sturdy stems are beautiful
too ; observe the grey reflected lights on their upper surfaces, in con-
trast to the brilliant green they present wlicn the light is passing througli
their substance.

The wallflower is not strictly indigenous to our islands, but it has
so acclimati.sed and adapted itself since its first coming in medi.x-vai
times that we almost regard it as a native, especially as it owns a big
family of cousins who are aborigines, being a member of the same
order as some of our most useful vegetables, including the cabbage,
mustard, cress, and even turnijj.

Oh. thi- ■.»
Whi-rcthroutfh Ih
In chain of nKacIc

Uey of deep t<rass,

nmcr stream doth pass,
nd stin pool,
From misty morn to evening cool ;
Where the black ivy creeps and twines
O'er the dark-armed, red-trunked pines.

U-iliiaiii Morris.

32

.^pji'il^ii SasMaiil

If we pass a brook running through marshy meadows in our quest
for floral subjects, we shall surely find wonderful patches of gold in the
masses of marsh marigold, or " king-cup " studding the lush green grass.
I believe in Italy this flower is called " Bride of the Sun," and certainly
it seems to reflect some of his golden glory.

In this study you will want some of your brightest and purest
yellows, so please be particular to bear in mind what I have said in
another chapter about the fatal tendency of gamboge and chrome to
turn black ; \'ou will be safest with aurcolin and Indian yellow as your
companions.

The leaves are sturdy, deep green, and glossy, and paler on the
under sides ; they make a lovely contrast, and are of immense value in
throwing the gold of the flowers into strong relief.

The space at my disposal does not allow me to give a detailed study
of all the floral gems greeting us " Beneath the concave of an April
sky " ; but you will find them easily for yourselves — something fresh
each day, if you have the time and inclination to seek it. Do not be
afraid of attempting anything as too difficult ; do not despise anything
as too trivial for study. If your studies do not reach an equal standard
of merit, do not be discouraged, for this is characteristic of the works
of the greatest artist as well as the beginner. Go on steadily and
perseveringly, profiting gratefully by the opportunities for study the
rich store of April's garland of flowers affords, and by the quickened
energy, this " spirit of youth in everything," the month of smiles and
tears brings into our lives. It is above all things a time of promise, and
if we, by earnest endeavour, can show this promise in our work, surely
the fulfilment will follow in due course, and bear its rich harvest of fair
fruit in due season !

Flffuier Pictures.

33

34

if^^y^

ic

Mavtime ! Beloved of poets, when the beauty of the young
year is at its gayest and brightest ; when breezes are soft, and
skies are blue ; and when everywhere around us is the
sweetness and fragrance of flowering bush and tree.

Our garden shows glorious masses of colour. Mauve

and white lilac ; rhododendrons ; azaleas ; the lovely syringa

throws its perfume around ; the laburnum's yellow tassels

(or gold rain, as the Germans aptly term it) are mingling

with the rosy ma\'.

Tlie lawn, studded with [jink-tipped daisies, is at once the despair of

the gardener and the delight of ourselves. But even the beauties of the

garden, alluring as they are, cannot keep us at home on this bright May

morning, when the voice of wild Nature is calling —

" When maytlies haunt the willow.
When may-buds tempt the bee."

Many of our favourite field paths and grassy lanes, impassable
during the winter months, are accessible once more ; still rather heavy
walking, perhaps ; but who thinks of such a trivial incoi:venience when
one is out " a-maying " .'

You must, I am afraid, put up with muddy boots if you go for a
spring ramble with me ! Indeed, it has always been a proverb in our
family that, if ever I led an excursion, or showed a newly-discovered
footpath, it was certain to lead the unlucky person who was rash enough
to follow my guidance, into the muddiest, stickiest spot to be found for
miles round ; and certainly I must confess the accusation is not entirely
without foundation ! Do not some of our most beautiful wild plants
choose the boggiest situations for their homes ? And I was always so
anxious to seek them out, and show them to my friends, that I fear I
had very little consideration for the appearance of the latter ! I knew

35

many a ditcli, hidden in rank grass,

where a perfect nursery of exquisite

little ferns grew, quite unnoticed by

the casual passer-by ; the spot by

the brook where the may grew

thickest ; and where the deepest

pink wild roses were to be found ;

and the blackberries, too.

I generally returned from the

expeditions in such a woeful state

of dishevelment that I was quite

afraid to show myself at home.

How often have I anxiously

watched for an opportunity to

creep in, quietly and unobtrusivel)',

bj' the back entrance, escaping to

the shelter of my own room to

repair (or rather try to repair) the

ravages my unfortunate wardrobe

had sustained ! I seemed to have

a particular talent for tearing my

clothes, and so getting into dire

disgrace with my elders. The

little school chum who was my

companion on these treasure hunts

was one of those tidy children who always seemed able to keep trim and

fresh ; while I, alas ! was a mass of rags and tatters, scratches and mud I

It was always the pocket of my coat in which the blackberries were

stored ; always my umbrella, or rather my mother's (borrowed sur-
reptitiously for the occasion on account of its crooked handle), that

got torn in endeavours to get those finest specimens that always
grow out of reach 1

For our first studj- this month 1 think we ought

to take its name-sake ; and if we can choose a day

when the bright clear spring sunshine is showing up

the hawthorn bushes in all the brillianc\' of their

warm white blossoms against the cloudless blue sky,

we have a picture before us that is indeed a joy

and delight, and typical of the spring. As a study,

if we determine to paint the whole tree, this must

be treated boldly ; the lights kept broad, and

the .shadows warm ; for where can we find

cold colour anywhere when Nature is

glowing with warmth and light ?

It is impossible for inc to give you a list

The Siitchwort is one of ihe loveliest
of our spring flowers.

36

37

2j;i iliB Marry
'M'sythxiB

of what colours j-ou should use for this ; yuu must rely upon j'our own
observation, for different conditions of light and atmosphere completcl)'
change the effect. F'or instance, if the sun is shining full on your
bush, the flowers are much lighter and brighter in tone than the blue
sky behind : if, on the other hand, the sun is near the horizon, the
flowers will show in dark masses against the
brighter light of the evening sky. Let us take a
may branch home for further study, and notice
carefully what a warm ycllounsh white the petals
are (test this by holding the flowers against a
bit of white paper), and how pretty are its little
brown and pinkish stamens. I do not par-
ticularly care for the double pink ma)- as a
painting stud\- ; the colour is somewhat crude
and monotonous ; but there is a single variety
of rich crimson hue (with white centres) that
would make a lovely contrast to the white.

In the copse how many favourites await our
coming; the young hazels, in their dresses of
wrinkly unfolding leaves, are charming in them-
selves ; and then look at the floral carpet at our
feet ! The lovely hazy blue of a mass of blue-
bell, " the sapphire queen of mid-May," as Keats
calls the purple orchis, the " long purples " of
Shakespeare, the pink campion and stitchwort
arc showing in the hedgerow, and the primrose is
still with us, although its later blossoms are longer
stalked, and its leaves have lost some of their
crinkled charm since we hailed its advent with
delight last month.

The stitchwort is one of the loveliest of our
spring flowers, and its botanical name of Stdlaria
seems to suit its starlike blossoms particularly
well. It takes its English name from the fact
that the old herbalists had great faith in its
curative powers " against the paine in the side,
stitches, and suchlike," as one writer quaintly
[)uts it.

As a study in drawing, its perfectly graceful
form is a delight ; but I should advise you only
to make a simple pencil sketch of its beauties, for it is so fragile a flower
that, before you can get out \-our paint-box, it will be faded and gone.

Take particular care to copy the graceful delicacy of the stems ; the
lovely modelling of the little starlike flower ; its five petals separating
into ten points after they leave the corolla ; while the grasslike leaves,

Do noi forget the little Woodruff

with its graceful bunches of starry

while blossoms.

38

3il -Lli

Four ducks on a pond,
A i*rass bank beyond,
A blue sky of spring,
White clouds on the wing ;
What a little thinj*
To remember for years —
To remember urith tears !
IViiiiam Allinghavi.

growing in pairs on either side of the stems of each group of
flowers, are ver\' beautifully shaped.

The lovely cow-parsley is now in all its beauty in field
and hedgerow, and this is another thing to try our skill if we make
a study of its feathery fleeting beauty. It is a charming foreground for
a landscape artist, too.

How delightful its lacclike heads of blossom look overshadowing this
huge bunch of golden buttercups we plucked in the meadow, which is now
a harmony of green and gold, a little later to take a still more rich effect
of colour when the grasses are ripening, and the rich red sorrel comes
into its own.

If you make a study of buttercups, it had better be a quick study,
one you can finish at a single sitting, for the flowers, when plucked and
put in water, have a funny habit of growing tall. The stems run up
quite quickly, and in a short time the whole aspect of the group is
changed.

Perhaps you will wonder a little at my choice of the humble
dandelion for a sketch, but to my mind it is a flower never sufficiently
appreciated. To the designer, whose art it is to study natural forms, and
then so conventionalise them as to make them suitable for wall-papers,
textiles, etc., the dandelion possesses endless possibilities. The golden
petals, toothed at the edges, from which the plant takes its name of Dens
leonis (lion's tooth) ; the curiously and handsomely serrated leaves ; its
pointed buds ; and last, but not least, its graceful, gossamerlike puff-ball
seed, so loved by the country child, are all too decorative to be passed
by. This "What's o'clock" is rather a difficult customer to introduce in
a floral design, and is generally best e.xpressed, I find, by wiping out the
form from the background in a rather smudgy wa}% with a sable hair
brush, clean water, and a bit of rag ; just lightly touching in, with a very
fine brush, any little definite bits of detail that strike you most forcibly
on the light side, never losing sight of its airy lightness and globular
form. If you were to make out every one of those funny little umbrella-
like fluffinesses of which it is composed, definitely, the downy effect of
the whole would be completely lost, and its character entirely gone.

One bright morning, when you are feeling braced up for conquest,
and strong enough to grapple with an_\- amount of hard work and

ndelion, with globe oS d
The schoolboy's clock in every town
Which the truant puffs amain
To conjure lost hours back again.

Ih.lvitl

39

difficulty, let us boldly tackle a branch of that
lovely lilac in the garden. All studies composed
of a multitude of small flowers are not easy to
portray with good effect, for there is always a
tendency to make out the flowers too definitely,
without treating the whole as a mass of bloom.
Lilac varies very much in colour, but, as a general
rule, the open flowers are more lavender blue than
the pinkish mauve of the buds and the flowers in
shadow. Everywhere the shadows must be kept
ivann ; keep them simple, too, in effect, to give
greater contract to the more detailed flowers on
the light side.

If you are living near a wood, do not forget
the little woodruff, with its graceful bunches of
starry white blossoms and rings of dark green
leaves, at intervals on its slender stems. One of
our old herbalists tells us this plant " Cheers the
heart, makes men merry, and helps melancholy,"
truly a delightful character to possess ! And even
nowadays the fresh young shoots of the ll'tM-
nieister (as it is called in Germany) are much
esteemed in the Fatherland for flavouring the
Maibowle, a favourite spring beverage, to which
it gives a peculiar scented flavouring unlike
anything else.

Somehow I wish very much I could see the
studies you have made since you began reading
these talks. I feel I am, in a measure, working in
the dark, for, although I can discourse on my own
difficulties and mistakes, I cannot see yours, to
criticise, counsel you what to avoid or (as I am sure I should be able to
do) applaud your progress.

I think every student goes through certain phases, and from time to
time adopts little mannerisms that, unless (as is often the case) he is
led away by some new idea, often cramp and spoil his work.

He may have seen a study or painting that has impressed him
greatly, and he endeavours to work on the lines of this rather than by
trying to learn with his eyes and his own brain what Nature has to
disclose.

This is wrong. There is a great difference between appicciatioii and
imitation, and I have a dreadful horror of the latter in all forms.

I know, when we admire a thing ver_\- much, it has a sort of un-
conscious influence upon us, and this dominates, to a certain extent,
our own efforts, even our own vision and conception. \\ c find this in

How sweetly smells the honeysuckle
In the hush'd ni^ht, as if the world were one
Of utter peace, and love, and fientleness.

40

Urn. mm I

other arts besides paintiny;, I think more particularly in
music. Notice the influence of Haydn, Mozart, and Bach
in the earlier works of Hecthoven, before he threw aside
the conventions of his time, and allowed his genius full
play among the magnificent harmonies that filled the musical
world of his day with awe, and still, after a century has
passed, hold us enthralled.

He had emerged from the influence of others, and we
have onl)- to listen to his beautiful " Pastoral Symphony "
to know how trul)- he drew his inspiration from Nature.

If I go in the country on a May morning, that wonderful
first movement, with its joyous, insistent, oft-reiterated motive,
is always singing in my brain ; it seems so exactly to express
the happiness and brightness of wood, field, and sky.

It is a great thing to keep our idea of Nature fresh
before us, and endeavour to create something, with that
loving help she never withholds from us, something that is
really our own inception. Am I wearying you with mj'
own insistence on this ? Forgive me, and bear with me ;
for I am really anxious you should profit to the utmost by the
opportunities this golden month of beauty affords.

Our list of floral studies is a long one, for Nature in her bright
spring dress is in a most lavish mood. What a chance for careful study
this perfect riot of beauty and colours affords ! Nature never repeats
her designs, and it is our pleasure and delight, in drawing flowers and
plants of any kind, to notice their individual characteristics, the special
points peculiarly their own, that give distinction and character to one
and all. And what makes our world all the more interesting and
absorbing is that, while our pencil or brush is gaining dexterity b}-
practice, our eye growing more trained and true, we are also learning much
of the wonders of Nature, and adding to our store of knowledge as well.

It is not a very scientific method of studying botan}-, but it is
nevertheless a delightful one ; and, although vi'e may not be able to
discourse learnedly on this and that order or group, " giving it," as
Tennyson says, " a clumsy name," yet surely we are learning in the most
enjoyable manner to distinguish the subtle differences between the
varieties of plant form ; and the mere fact of translating our observations
to paper impresses them far more firmly on our memory than any other
method could do. With this as a basis to start on, surely we should go
further in our quest for knowledge, and study intelligently the marvels
and delights Nature has in store for us all.

For the true lover of Nature, once his interest is awakened, is held so
closely, yet so willingly in her thraldom that he cannot draw back ; and
that wonderful interest and reverence he feels in her works pervades his
whole life, nay, is a part of himself

And round green roots and y«^Miuw*i>b
Pale pink convolvulus in tendrils crcc

yellowing stalks I see
_j„:i^ creep.

41

Thick-set the English Daisies
grow»
The close fresh turf between :
On breezy downs, on meadows

low,
In lawns, upon the banked
hedgerow,
Star-white, 'mid pastures
green.

Out-living all blue violet bands,

And every early comer.
Till children thread with sun-
browned hands
The Daisy-chains from flow'ring
lands
In the sunny days of summer.
Jilla hinatii.

ff

42

'The meadow Sields
Are waving in the sunshine like a sea;
A billowy deep, urhose {lowers are like a foam.'

v^^

What a picture of pastoral beaut\- those lines conjure
up to our imagination ! A bright, sunny morning in
June, when skies are cloudless and blue, and the balmy
summer breeze, gently stirring the wild luxuriance of
foliage and flower, tempers the heat of the sun.

The year is at the zenith of its beauty, and the riotous profusion of
Nature is still in the first blush of young maturity, before the thunder-
storms of July and the scorching suns of August have caused the leaves
and flowers to lose somewhat of their fresh beauty, and take a deeper
note of green, as the season goes on its way.

The days are now at their longest ; the light is at its best. We have
the whole long glorious day before us, to feast on its loveliness and to
learn the lessons it has in store. There is so much to see and so much
to do that our pencils need not be idle one moment, did we not want
time also to revel in the beauty we see everywhere around us, and so
become imbued, to our very souls, with the gladness it brings. If we
just merely make up our minds to copy slavishly specimen after
specimen of flower and leaf, never raising our eyes or pausing to
consider the wider beauty of the great Out of Doors, the " Altogether,"
as one might term it, we shall lose much of the spirit of this lovely
summer-time.

I do not mean we are to simply dream away those golden hours, and
so accomplish nothing tangible at all ; but in a long bright day in June
there is time to be practical enough to produce good work and also to
find leisure to look around us and enjoy the gladness of it all We
cannot feel discontented or disagreeable on a morning like this, no
matter how irksome our burdens, however uncongenial our daily task.

43

Just try (the" effect
of one day in the
meadows or woods
of early June and
\-ou will find it a
real tonic to mind
and brain.

" In early June when
the earth laughs
out,

When the fresh
winds make love
to the flowers,

And woodlands
sing, and waters
shout."

We grudge every
moment spent in-
doors ; and surel\-
even the most delicate mollycoddle in the world need not fear cold or
chill. So let us be up betimes, not to lose the freshness and charm
of the early morning, or to have to do our walking when the sun is
high in the sky.

Our sketching "kit" reduced to a minimum weight, a simple
sandwich luncheon added to our knapsack, a
camp stool for those who do not appreciate
the delights of sitting, gipsy-
like, on the grass, and our
outfit for a long gladsome
day is complete.

Leaving the main road
and motors far behind, let
us follow a secluded field-
path or lane, until we find a
meadow or cornfield bordered
with trees and hedgerows,
affording, not only .some
welcome shade from the sun
when at its hottest, but a
treasury of delightful " bits "
for study as well. Graceful
branches of wild roses wave
above us, scattering their
pink petals at our feet if we
pick but one tiny bud.

44

x-'.^v

. -s*^

/

The coin is already high, though it is still green, and the glories of
the scarlet poppies peer out from its depths — a joy to the artistic soul,
though the farmer Io\-es them not. The>' will make a delightful
subject for our first sketch. The intense orange-scarlet of the petals is
rather a difficult hue to reproduce, but if we keep
them very fresh and pure, orange vermilion, rose

madder and Indian yellow, used judiciously, with -,

a strong, dark background by wa>- of contrast, "'{

ought to give us a good effect.

I have found it a good plan, when requiring
poppies for further study at home, to select some
buds, instead of flowers fully out. These buds, if
taken home and placed in water near a window
(having previously had their stems cut), will open
beautifully ; and, if undisturbed, will live long
enough to enable us to study them with care.
What a pretty group they make, with a few delicate
grasses, or, best of all, some graceful heads of oats,
with them !

Now is the time when the beautiful flowering
grasses are at their best, and this particular class
of plants is so interesting, so attractive to the eye,
so useful and necessary to both man and beast,
that I think it would well repay our trouble and
attention if in this talk we made a special study
of them.

We must remember they belong to a very large
family, a family including some of our most useful
and necessary cereals — even the " staff of life "
itself; for it comprises wheat, besides barley, maize, rye, oats, rice,
and even sugar-cane.

They are all so beautiful and varied in form that, apart from
their utilitarian interest, the artist and the student must find much
pleasure and delight in their careful study. They even afford a
vast field of research for the arch;tologist as well, finding traces,
as he does, of their cultivation in remote ages before the earliest °'""' »"■ "
known civilisations of the world, and also in the time of dynasties Ar^eT
long, long passed away. "The niac sc

T51. *" . , . . . inU-grasse;

i"lmy gives us his opmion that cultivated barley is the most ancient Have made
of all, and modern authorities support his view, as three varieties of
this cereal have been discovered in the ancient lake dwellings of
Switzerland, belonging to the Stone Age. Nothing is definitely known
of the original wild form of their ancestors, and possibly the varieties we
find .so u.seful in the present day are widely different from their primitive
forerunners.

^* ■?»*

■ * /

i*

\

gue,

without shape.

For the wind to

45

Grass with green flag half-mast h'n
Succory to tnatch the sky,
Columbine with horn of honey.
Scented 5crn and agrimony.

Mea£lDi»7

¥

Perhaps it will be helpful and instructive to notice the special
characteristics of this large and useful family of plants. Not only is it of
interest in itself, but also of great service to those who wish to make
studies with pencil and brush, for to understand the underl)-ing prin-
ciples of construction of anything we wish to draw is a great help towards
making a characteristic reproduction of it.

The following definitions, given by Marshall Ward, are very useful
in enabling us to distinguish grasses from other forms of plant life.

"The first is, their leaves are arranged in two rows alternately up
the stems ; the second that their stems are circular and flattened in
section, or if in some other shape, they are ;/ez'er triangular or solid.
Moreover, the leaves are always of some elongated shape, and without
leaf stalks, but pass below into a sheath, which runs some way down the
stem, and is nearly always perceptibly split. Further, the stems them-
selves are usually long and cylindrical, and distinctly hollow except at
the swollen nodes, and only branch low down at the surface of the
ground, or beneath it."

By this time we have perhaps arrived at our destination, the happ_\-
hunting-ground of our desires, and we are grateful for the friend!}- shade
of the giant elms in the hedgerow.

Long before we have time to make studies of all the varied treasures
in the sea of waving grasses before us, the mowers will have laid them
low, and on our second visit we may find our meadow studio invaded by
an army of rustics, whose swiftly-moving scythes keep time together with
fell, rapid strokes. Or perhaps the whirring music of the more up-to-
date mowing machine has accomplished the work of devastation still
more quickly.

Well, even when the meadow grasses have fallen, and have been
gathered into stacks of sweet-smelling hay, we have only to seek fresh
fields and pastures for more specimens of the wonderful family now
engaging our attention and delight. Leaving the meadow, whose short,
stubby grass is already making a brave effort to throw out shoots for a
second crop, we turn our attention to the corn-crop, growing higher and
stronger each day under the brilliant midsummer sun.

It is, I am sure, unnecessary for me to warn my readers against the
practice some inconsiderate folks have of heedlessly trampling down
crops, either of meadow grass or in cultivated fields. If we notice the
" trail " left by a careless pedestrian in search of a " short cut " over a
meadow of long grass, we cannot help a feeling of anger at his
thoughtlessness, and, of course, in corn or similar crops the havoc he
will make, without a thought of evil-doing, is immeasurably more.

We can find our specimens on the edge of the field, near the hedge-
row, or fringing the footpath, without doing damage.

Suppose now we have gathered a handful of graceful specimens of
meadow grass, and returniu!/ to the shadv studio under the trees we

Tail

46

2si 'J''ii;J.d ailil

The year's new grass and, jioldcn-cyed,
The daisies sparkle underneath,

And chestnut trees on either side
Have opened every ruddy sheath.

U'iilmii! Canton.

have alread}- chosen, let us start on our studies. There is a wonderful
variety in our selection. Look, for instance, at this dainty piece of
quaking grass ; how different from these straight, stiff spikes of the cat's-
tail or fo.vtail grasses ! And yet thc\- are closeh- related and have
many features in common.

One characteristic of the whole family of the grasses is the toughness
of their stems when you pluck them. If pulled hard they will sometimes
cut your fingers like a knife. This leads you to notice that, although
soft and succulent in early youth, the flowering stem or " culm " is
invariably hollow in construction, except at the knotted joints, and this
accounts largely for its strength and durability.

You will find it a good plan, first of all, to observe the structural
form of this stem in yaxxx study. If \-ou try to put in the grassy tufts of
flowers first, it will be very misleading, and however carefully j-ou think
you may have copied what you see, you will experience a difficulty
later on in bringing the whole mass into form and shape.

Observe carefully the main stem, and draw it in, taking note how, in
most cases, the flower stalks branch out from it in groups, generally
diminishing both in size and number as they approach the top of the
spray ; this gives a very graceful effect.

Get these branches accurately drawn ; and the pretty little clusters
of stamens, each in its protective sheath, bearing its pollen ready to
shed around at the touch of the lightest breeze, will fit into their places
without difficult}-.

Unless you are making a purch- botanical stud\-,when such details
are very necessary, you will not attempt slavishly to copy each
little spikelct of flowers, but rather try to get the soft feathery
effect of the whole spray by a few direct and w-ell-considered
touches in the right place as it first strikes your ej-e. See to it
that your stems are carefully drawn, for if they are rough and
jagged, their ethereal character is lost entirely.

If our time in meadow or cornfield is limited, and we are
unable to make all the studies we desire to do before it is time
to pack up, let us take some specimens with us. The grass family,
unlike most of our wild flowers, is a sturdy and long-suffering
one, and a few specimens, saved with care, will give us material
for study when the heavy storms, from which we are not free even
in June, make working out of doors an impossibility. So keep
them carefully for the " rainy day " that is sure to come, and then,
if time is hanging heavily on your hands, you have a group of
interesting and absorbing models before you, besides a charming
decoration for your most cherished " bits " of china, whose value
is too great to warrant the risk they run with the constant
replenishment of water fresh flowers demand.

Only a bit of grass ! Are you contemptuous, and think it a

A7

study beneath \-oiir notice ? More .showy plants may
appeal to us. The brilliant hue of our favourites
of garden and field please our sense of colour, but
they cannot teach us more of structural beauty than
the grasses. To the student, perhaps, the latter are
especially useful, as a study of form more easily
understood than when he is led away by the glory of
colour in a bunch of flowers.

When you notice the loveliness of some of the
feathery varieties — the fragile delicacy of their flower
stems, barely thicker than a human hair, their
beautiful though subdued colouring, grey-green and
purple as they advance towards maturity — I think
you will agree with me that they are worth careful
consideration as studies, even at a time when Nature
is at her gayest and brightest.

I do not mean that you are to make a study of
meadow grasses to the exclusion of other flowers, but
find them a little place in your programme at least,
and when you are desirous of composing a group of
the beauties of the field, a few sprays of grass, introduced with
discretion, will act as a charming accompaniment to the brighter hues
of the flowers, and look right ; because, having grown up side by side
in Nature's scheme, they are in harmony one with another.

Ox-eye daisies, ragged Robin, meadow-sweet, meadow crane's-bill,
poppies, cornflowers, and many others, are the glory and delight of
the summer fields, and although perhaps, with limited time at our
disposal, it is impossible to make studies of them all, before their brief
span of life is over for another year, we can make a charming and
varied selection from them, while the hedgerows afford us the beautiful
traveller's joy, wild rose, honej'suckle, wild convolvulus, or morning
glory, with others too numerous to mention.

Although these little chats are primarily addressed to amateur
artists, they will doubtless be read also by those who have the care and
upbringing of young children as their life-work. Therefore I want
to have a word with them, especially.

I have often thought, when I have seen a joung nursery governess
plodding wearily along the high road with her charges, as if the daily
constitutional were a pain and penance to all concerned, how much
more interesting and instructive to both pupil and teacher alike such a
daily walk might become if the latter would teach the little ones to take
more than a passing interest in the beauties of hedgerow and field.
All young children love flowers naturally, but this love unfortunately
often develops into mere acquisitiveness and reckless tearing up of
roots, unless they are taught that this is harmful and wrong. Let the

And myriads of the tircat-eycd butterflies
Hovered above the white and yellow bloon^s.
And fluttered through the lirasses silver-flowered.
Filled with the noise of grasshoppers and flics.

48

AN llALIAN GARDEN.
Froin the Painting by Hayward Young.

Ir has occurred to me, on looking over tlie articles on floner-
painting I have previously written for the Woman's Magazine,
that my readers must have formed the opinion that I am a most
pessimistic person ; because all through I seem to be preaching
about the difficulties lying in wait for us when we try to reproduce
the wonders of Nature's works. But, believe me, the very last thing
I wished was to be discouraging ! I was aiming to impress upon
my fellow students of natural beauty my sympathy with tlicir
struggles, because my own seem to increase every day ! There
ought, I think, to exist a kind of camaraderie between us.
"Companions in misfortune" I was going to say, but that is not
quite what I mian ; for the consciousness of our own limitations is
»ot a misfortune, it is a very great asset to our ultimate success.

Nevertheless, I think it is a comforting thought for us to
remember, when fits of depression come over us, that, after all, it
is a healthy feeling, and one shared alike by the humblest beginners,
and by those whose achievements have earned them a high place in
the world of Art.

I once heard of an old village nurse, whose formula of consolation

- ■ *i^ -

re

to her patients, with complaints
van'ing from fractured slcull to
" housemaid's knee," used to
be, "I've been through it all
myself, me dear ! "

This I felt especially on
reading the letter of a Scotch
reader of the Woman's Maga-
zine, who wrote asking my
advice about a group of roses
on which she was engaged ;
and she expressed so aptly the
troubles and trials of a flower-
painter that I am taking the
liberty of quoting from her
letter. She says, " I ?ieverca.n
get the exquisite pink of roses
.... if I put on the colour
too pure, it has a crimson

effect, and if it is too watery, it is not like it either, not that
lovely shell-pink effect."

I felt like grasping the hand of that lady, had it not
entailed such a long stretch of the arm to her far-away
northern home ; for I was then engaged in trying faithfully to

portray the delicate purity of a

lovely group of wild roses I had brought

back from a country ramble, and the difficulty

of the "lovely shell-pink effect " was mine also. »

Without bringing on myself the reproach of being
the bad and quarrelsome worker of the well-known
proverb, I think I may say there is no pigment made that
can approach the transparent beauty of a natural flower. The
colours we use are as perfect as it is possible for modern chemical science
to make them, but how can we expect these productions of human hands
to come near the original ? Just as little as the workings of our little brains,
and the handicraft of our little hands, can in our highest endeavours approach
the charm the great Maker of all things beautiful has given us in the humblest flower.

When we look with admiration at some wonderful' specimens of ancient eastern craftsmanship,
we cannot fail to notice an irrcgularitj' of design that, in our ideas, constitutes part of its
charm. But we should wonder that the artist hand, possessed of so much cunning, could not
surely have avoided these apparent mistakes, did we not know that his religion taught
him, " Only One can make things perfect," and that the errors were not accident, but
design. We of a different faith know that the mistakes will come of tltetnselves,
iJL however we may strive for perfection, and that we cannot enter into com-

petition with the works of God. But by cultivating a taste for all things
beautiful, by earnest endeavour to represent what we see before us, and
a steady determination to emulate the spider of Scottish fame.

•i^;:^

whose exploits loomed so largely in the precepts of our nursery days, we can produce studies
that are not only a great joy in the making, but that are sufficiently inspired with the glory
of the original to cause delight and enthusiasm when the fleeting, transitory charm of our floral
models has long since faded awa}'.

Roses are my favourite flowers, and I always enjoy painting them more than any other
variety. Perhaps their verj' difficulties add to their charm, for their opening petals are
constantly revealing some fresh beauty. I may temporarily waver in my allegiance, perhaps,
when I bury my face in the cool fragrance of the first bunch of dewy violets to greet the spring,
or when the warm rich colour and variet)' of the chrj'santhemums bring brightness into dreary
November days. But, after all. Queen Rose reigns supreme ; the lovely blue violet lacks the
variety of the rose, and the chrysanthemum (a close rival as regards colouring and variety) has
a curious aromatic scent of its own, not disagreeable, but totally lacking the delightful
fragrance clinging to rose petals, long after their mere beauty has passed away.

We have adopted the rose as our national flower, and in English hearts she will ever be

i(9^ ^

held dear ; whether rearing her dainty blooms above the cabbages
in the humble garden of the labouring man, or flourishing in
profusion in the old-world pleasance of the "lady of the manor,"
who takes as great an interest and pride in tending her rose garden
as did her ancestress of long ago, with powdered hair and flowered
gown, when she passed those mossy terraces and walks, carefully
collecting and storing the fallen petals, that their sweet savour
should not be lost.

As the fragrance of the dried rose-leaves brings back the
remembrance of their sweetness, so may our humble efforts in ■
colour recall happy memories of the glories of rose-time, perhaps
when hearts are sad and all around is drear. If we have made our
studies as true to Nature as earnest observation and a desire to

e.\press Truth can help
us to do (avoiding any
conventional " pretti-
ness," " trick," or
" effect "), we shall
have accomplished
much.

That great Master
of Medijeval Art,
Albrecht Durer, tells
us. '• Depart not from
Nature, neither imagine
of thyself aught better,
for Art standeth firmly
fixed in Nature, and
whoso can thence rend
her forth, he alone
possesscth her."

V#;

One further word by way of
postscript : Do not despise the
day of small things ; make
fragmentary studies in plenty
before you attempt a large
picture. The foliage of the
rose in itself presents a wonder-
ful series of studies in colour ;
don't think that it is the
blossom alone that shows pink
and red and yellow
and purply - crimson
tints.

Notice how Nature
suits the foliage to
the colours of the
blossoms ; look how
the reddy - brown
shoots of the tea-rose
harmonise with the
golden - red in the
heart of the flowers,
how the pale blue-
green tint that is on
the foliage of some
of the pale pink roses
seems just the e.xact
colour needed to
bring out the shell-like colour-
ing of the buds.

And have you particularly
looked at the colour on the out-
side petals th.at enclose the
rose-buds ? These alone are
worth careful study ; they often
show some most exquisite
colours that are not necessarily
repeated in the fully blown
flower. Studies such as these
are of infinite value to the
artist ; they train the eye, the
mind, and also the heart ; for
they foster a love and reverence
for God's handiwork as seen in
Nature.

A DUTCH GARDEN OF FLOWF.RING BULBS.
From the Paintins by Haywnrd Young.

3iQ ITiald. iijiri

teacher herself study Nature and wild life generally, and teach the
simplest rudiments, in the simplest manner, to the little ones, awaken
their interest in things beautiful, and the}- will take the keenest
delight in the pursuit of this new hobby : the weary walk of yesterday
will be a pleasure and joy to-da\-, not onl)- to the youngsters, but to
their teacher as well.

If the teacher can urge them to select a few of the simplest leaves
and flowers (also impressing on them that they must be gathered
without injury to the plants) and, on reaching home, encourage them
to make little pencil drawings, what a good work that \vould be !

These early efforts may be crude and almost laughable perhaps ;
but, above all, be encouraging ; the elements of an intelligent interest
in Nature are there, and will develop and fructify as time
goes on.

After the little student has made his rude drawing
from the natural flower, ask him some elementary
questions respecting its form, number
of petals, etc., teach him the simple
English name, and anything else you
know about it that is not beyond his
comprehension.

The once dull perfunctory walk is
now a quest of delight, and the
specimens gathered will afford an
occupation for dull days, when lessons
are over, and even romping has palled :
while the progress of the pupils will
stimulate the teacher to fresh efforts and
interest in a most fascinating pursuit
on her own behalf as well.

Who can deny the refining and
educational influence of this habit of
observation on all ? It is almost im-
possible to gauge the far-reaching
results it may have on the future. Not
only is the child learning much of
botany, natural history, and Nature
wonders generally, but he is being
trained into a habit of looking intelli-
gently and with understanding at all
he sees around him, which will, without
doubt, be of immense service to him
in later life. Whatever his future
calling, whatever his rank in life, be
he poet, philosopher, painter, musician,

The
Rosy'Red
Campion.

49

J"

f i^"-

V

professional or business man, artisan
or mecnanic, this early trainins^ will
assist him in his career.

The promoters of the great
m^ ^jjL scouting movement, now playing so

|t ^ Jli>IWP important a part in the education

' ^^^^^ of the )-ounger generation, have

recognised this. Those young lads, many of
them coming from the poorest homes, where
their outlook has perforce been a limited and
sordid one, are able, after a little training, to
give most intelligent information about what
they have seen on their expeditions. They are
taught to notice natural features of the country,
objects of interest, the way of the wind, the
stars, temperature, etc., and to make records of
all they see. And this intellectual develop-
ment, aided by the discipline, the excellent
moral rules laid down in their code, and the
— ^^lj^L^^_^ physical training in the open air, cannot fail, as

^^^^^Hr the movement spreads, to have a great and

^^F glorious effect on the future of our race.

Let all of us who have the care of young
children, or who come into contact with them in our daily life, do our
best to sow the good seed in the fertile soil of their impressionable
Nouth, and try our utmost to inculcate and foster a love and veneration
for the boundless store of God's gifts, by interesting them, from their
earliest years, in the objects of wonder and beauty too many of us
pass heedlesslj^ by.

The understanding of the .structure and
function of the smallest of these, and the '

place it holds in the wonderful scheme of the
Universe, will not only have an ennobling
effect on character, but will surely lead to a
greater reverence and understanding of our
Creator, through the vast and fathomless
wonders of His works.

Whether we be artists, amateurs, teachers,
or students, let us try to see Nature truly
and surely, and, as Ruskin tells u,s, " Be
humble and earnest in following the steps
of Nature, and tracing the finger of God." • ;

We cannot all be great artists, for we are
not all gifted to the same extent. But we all
can be sincere and reverent in our work.

:'

Meadow Cranesbill.

...•^SSS^S"''

'Wild i^^itniTB

This chapter embraces a very wide field for discussion —
so wide and varied that I must own I hardly know where
to commence. But, in spite of all its difficulties, the
subject is a most fascinating one, and will lead us, in
quest of our most delightful material, through sunlit
meadows, over breez}- commons, and by tangled hedge-
rows, each with some new treasure and delight peculiarly
its own.

This is not an excursion for smart shoes and frivolous

clothing, for some of our most charming models are verj'

defensive, and, armed with sharp prickles and spines,

seem to protest against our depredations. So, if we are

contemplating a raid on the hedgerows during our progress

where wild rose, bramble, blackthorn, and many other more

or less prickly sojourners display their beauties, let me warn you, don'(

wear a knitted coat, or you will soon find yourself enveloped in a perfect

Penelope's web of tangled yarn, from which you cannot extricate

yourself without a great deal of damage and difficulty ! High thick

boots that have reached the age of ease, and tweed clothes past their

first youth, is the garb />ar excellence for our expedition. Don't forget

stout leather gloves, and a crooked stick — always a most trusty and

serviceable companion in the country.

Our sketching " kit " must not be a very elaborate one — -just what
we cannot do without ; for an extensive outfit (with easel, camp-stool,
umbrella, etc.) is a very tiring burden for a summer's day. Just our
sketch-book or block, colour-box, brushes, pencil and water-carrier — in
a knapsack for choice, in which we must al.so find room for a small card-
board box, filled with damp cotton-wool ; this will enable us to keep

The lea!
with

n*

4'

^^

'Wi]

I-ili

^

imcns we may desire to bring home for further studj-
deii,<:;htfully cool and fresh.

I generally take an elderly rainproof coat on my excursions,
for it serves the double purpose of protection
from passing showers, and affording me a dry
seat when sitting at my work on the grass, for
I must plead guilty to liking this humble and
inelegant position above all others when " far from
the madding crowd."

Ever since my childhood, wild flowers have

» 7 \r .X. - -^i^. held a great charm for me, and I can remember
, -.J how, in those golden hours of long ago, I used to

steal away through a hole in the hedge of my
country home, known only to the chickens and
myself, to the forbidden ground of a neighbouring
meadow, and there revel in the long, and often
damp, grass, with its treasures of golden buttercups
and dandelions, and its high cow-parsley towering
above my limited stature. Here I would remain
until found and reprimanded by those in authority
over me, and condemned to the tamer delights of
the garden, with its trim lawns and gravelled walks.
Xo scolding, no fearsome
tales of irate farmers, or
imaginary hobgoblins,

could ever shake my longing for that enchanted

field, which presented a sort of El Dorado to

my youthful imagination.

The happy days of childhood have fled,

the country home is no longer ours, but I

still have the same feeling of enthusiastic

delight in ^^ature's boundless store of jewels,

when, on a bright sunny morning, armed with

my knapsack and some simple provisions, I

take an early train away from the smoke of

the city, to one of the many beauty spots

still left within easy reach of town (did we

Londoners only trouble to find them out),

and there spend a long, lovel)- day amidst

most delightful surroundings.

Many of the little studies that i\Ii.ss

Klickmann has scattered throughout this

volume owe their origin to these country trips.

I generally collect a few pretty little specimens

on m)' way, and then choose a shady spot for

When Daisies pied, and Violets blue.
And Ladysmoclfs all silver white,

And Cuckoo-buds ot yellow hue
Do paint the meadows with deliUht.

.S/;,i<v.,/r,..f.

52

1

my open-air studio. For I must most emphatically warn you, when
working out-of-doors, not to have the sun on your work ; the glare on
the white paper not only is extremely bad for your eyes, but will give
}our sketch a hard and crude appearance when taken indoors.

Sometimes one can find very beautiful groups of wild flowers, and
work from them as they grow ; the little bit of ivy-leaved toad-flax was
worked out from a sketch made thus in Somerset last year. And I only
wish I could call colour to m\- aid to show you how beautiful it looked
with its delicately shaded heart-shaped leaves, and tiny mauve flowers,
against its background of mossy grej' stone wall.

A spray of wild rose, or bramble on a hedgerow,
makes also a lovely sketch, but I think that, as a
general rule, it is almost best, while we are in-
experienced students, to detach a suitable spray
from its surroundings, and to put it against a plain
simple background, such as a leaf from our sketch-
book ; so that we can see the actual form of petal,
leaf, and stem, apart from confusing elements around.
Many of the most beautiful of our floral gems
J^ wff hide themselves so modestly among their bolder

neighbours that they are almost concealed from our
view. And many are so short of stature that,
unless we contemplate a bird's-eye view, we should
have to lie flat on the ground to get a good " point
of sight."

It requires a very skilled hand to paint, with
good effect, masses of wild flowers as they grow in
the lovely surroundings in which they were born ;
and perhaps this is more within the province of
' " ^^ the landscape painter, who can find immense value

in these broad masses of colour as foregrounds for
his studies of rural beauty.

I am writing this on a July da)' ; the glory of
the spring woods has departed ; the season has
moved onward, and laid a mellowing hand on
hedgerow and copse ; and the beauties of early spring are maturing
towards the fulfilment of their part in Nature's scheme. Most of the
wild roses have faded, and are already showing their fruit, though green
as yet. Here and there you may find a bush of the white variety still
in bloom, and entwined with honeysuckle.

Tiie may-flowers have also turned to brown, and show promise of a
glorious store of deep red berries to gladden our sight in the coming
autumn, and to prove a rich harvest to the song-birds, whose voices are
hushed now in the heat of the day. But what a wealth of beautiful
flowers is still left us for our studies ! Though the mower has ruthlessly

White butterSlies in the air.
White Daisies prank the ground ;

The cherry and the hoary pear
Scatter their snow around.

A'oicrt BrUees.

S3

The Pageant of
WUd Nature

^fe

cut down the gloi)- of the long grass of the field, round its borders are
still left some late ox-eye daisies, meadow-sweet, tall hemlock, and
many others.

In the ripening corn the poppy dazzles our sight ; the cornllowcr still
shows its bright blue eye ; the field scabious and vetch give us delightful
shades in mauve and purple ; the yellow toad-flax is in flower, while the
common is a perfect feast of colour with its wealth of bell heather, and
dwarf furze, whose orange-coloured flowers, contrary to those of its early
flowering cousin, the gorse, generally appear with those of its neighbour,
the heath, and, clinging with prickly affection to the latter, make a
scheme of colour so gorgeous in the summer sun as to be almost
dazzling to the sight.

Suppose our quest has taken us by the silver sea. Here we have
man\' additions to our inland flora. The lovely tamarisk, although not, I
believe, an actual native of our shores, is flourishing and in bloom, its
rosy spikes showing out against its feathery foliage ; the yellow horned
poppy and the lovely pink thrift are also lovers of the salt air ; while
yellow and white lady's bedstraw, scabious, and ragwort all grow in wild
profusion on the cliffs. If the latter are chalk, I expect you will notice,
as I have done, that not only are blue flowers, such as harebells, scabious,
campanula, etc., most prolific, but the blue butterflies predominate
as well.

The subject of wild flower painting is such a wide one that it is

impossible for me, within the limits of this little article, to laj' down any

definite rules for the colouring, etc., of the different varieties,

beyond advising you to sketch in lightly the general direction

and jiroportion of your spray, and then, if you have not time to

finish the whole of it before it fades, take a small part, and do

your utmost to render it as like to the

living reality as you can, keeping as far as

possible its dclicac}' of colour and beauty

of form.

These little studies may not be pictures,

but thej' will help us more on our road

to the success we hope for b)--and-b\' than

a more complicated arrangement, be\'ond

(Hir powers of achievement, would have

done. .And meanwhile, not only are our

eyes seeing more clearly, our fingers through practice

getting more sure of touch ; but we arc studj-ing

the beautiful under most delightful conditions : our

knowledge of Nature lore is increasing daily ; and

our health and spirits are rising proportionatels' as

well. In our studio in the summer wood, or under

the cloud-flcckcd sky of heaven, we have the (Utiidl

And her eye* arc dark and humid

like the depth on depth of lustre
Hid i' the harebcH.

54

•Wild, i^a-inji'a

ntinospJicre in which the subjects of our studies were born ; and who
could help being more imbued with a sense of beaut)- under such
conditions than within the limits of four brick walls?

Without wishing to be discouraging, however, I think you will find
the difficulties of light and shade tremendous!}- increased when worlcing
out-of-doors. The side-light from our sitting-room window, where our
studies have previously been made, in a measure focused the light from
one particular point on our group, though even there the effect was
variable, owing to atmospheric conditions. But out-of-doors the light
is for ever changing, and instead of the side-light that gave us the
definite shadow so helpful in enabling us to grasp a strong effect, we
have a bright soft light so diffused and so transient that the effect may
be totally different before we are half-way through the simplest sketch.

Suppose, for example, when the sky was overcast b}- a passing cloud,
we had commenced a study of those lovely sturdy ox-eye daisies, which
so utterly eclipse in beauty their pampered greenhouse cousins. You
probably sketched in your flowers, and began to shade in your delicate
greys and shadows, and the cool green grass amongst which the\- grow,
when — -Hey ! presto I a sunbeam ! and all is changed. The white
petals of the flower stand out like a halo round the yellow centre as
the sun glints through, and the cool grey-green grass and leaves are
grey-green no longer, but almost golden in their brilliancy and warmth.
We cannot alter our first sketch to suit the wonderful change the sun-
shine has wrought ; we must make another under the new conditions.
Sometimes we are almost in despair at what we consider an alarming
waste of nice white paper ; but with each attempt, poor and crude as we
may deem it, we have Icarut something, received a new- impression
photographed on our minds, and made one step further on the long road
of our ambition.

Don't destroy these little attempts ; date them carefully and store
them by, and you will be astonished and interested, when the same
flowers come round in their seasons again, to see the progress you have
made, simply by perseverance and determination to conquer the
difficulties that lie in your path. You still may feel a long way from
the goal of your ambition, for I know of no study that has a more
humbling effect on our estimate of our own powers than the study of
Nature. But each step of the way has opened up new beauties and
delights ; and wrestling bravely with our difficulties has been a most
wholesome exercise for us in every way.

To those of you who have the great advantage of a home in the
countr}-, I would say, seize every opportunity, if you would succeed in
flower painting, to draw, draw, draw all you see before you.

Suppose, if your time is your own, you made a practice of getting
some new specimen of natural beaut)- on your daily walks. I believe
you would find something of fresh interest every day, even in " Barren

The FoxjSlovc on
fair Flora's
hand is worn.

Lest while she
fathers flowers

55

Dan<

;c t» the beat ol the rain, little

Fern,

And

spread out your palms

And

say; "Tho* ihe sun attain

HatK my vesture spun,

He had laboured also in vain

But

For the shade

Thai

I the cloud had made,

And

the liilt ol the dc» and rain

Thei

n lauiih and upturn

All your fronds, little Fern,

And

rejoice in the beat of the ra

iin.

■Wild.

Winter, with his wrathful nipping cold " (though
then, of course, your study must be pursued indoors).
Why, a few bare twigs make a lovely study, and will
teach you much of the growth of the various species
of tree ; a trail of ivy ; a few fallen beech leaves,
all curly from the frost ; and endless other things will suggest themselves.
One November, Miss Klickmann asked me to make some drawings
of " little stalky bits in the hedgerows," such as she herself had noticed
on a country walk that week in Sussex. And, on making a pilgrimage
to the nearest available spot in search of Hke material, I passed a most
delightful, though somewhat damp afternoon, coming home, in the early-
falling twilight, very muddy and bedraggled in appearance, but surprised
and delighted at the wealth of pretty things I had found — sprays of
frost-tinted leaves, mosses, dried and bleached grasses, and seed-vessels,
which the autumnal gales had robbed of their contents, but beautiful
even in their decay.

There is always something of interest to be found in the hedgerows.
Once when I was staying in the West, and enjoying my inherent
propensity for grubbing in ditches, I used to " pass the time of day "
with an old hedger and ditcher, whose duty it was to keep tidy and spoil
the beauty of a lovely wild lane. He evidently thought my interest in
those flowering banks was purely a greedy one, for wild strawberries
grew in abundance, and he would tell me, with a smile, he had left a
nice lot round the corner for me 1

But when he saw mc making sketches of " Ragged Robin " and
" Jock o' the Hedge," he seemed quite distressed at my bad taste in
selecting " they veeds ! " and invited m.e to work in his garden instead,
where he had " as vine a row of zunflowers as ever ee zee ! "

The year, with its changing seasons, is a sort of processional pageant
of wild nature. Hardly has the old year breathed its last sigh than the
hazel tree hangs out its )cllow tassels to welcome the new. In February
the flower buds on the elm-trees show red against the changing sky ;
and so it goes on, month b\' month, a succession of beautx-, always
changing, never still.

Nl.

I^*^^"-^';,

H

56

/

57

'^y

*>

I

I** j

UJ'v

=;8

tc^UlU

^^2Si*-

Has there ever been a time when the
word " garden " was not beloved by
English hearts ? From the spacious
grounds of the lordly castle, with their
wide-spreading lawns adorned with
stately cedars, lakes, and fountains, to
the little plot of the humblest cottage,
where cabbages, turnips, and the old-
fashioned country perennials grow
harmoniously side by side, each has a charm and beaut)' pcculiarl)- its
own, and in every case it is typically British in character.

'Tis true we have from time to time borrowed our ideas of garden
planning from abroad, but these ideas have been so modified to suit the
natural features of the country and climate, and so adapted to the
conditions of English life, that (although their scheme may owe some
fundamental origin to imported ideas) they have settled down into a
type of beauty unrivalled elsewhere. The formality of the Italian
garden, the artificiality of the French, and the primness of the Dutch,
have each left an impression on our old-time pleasure grounds ; but the
passing of years, and the moistness of our much abused climate, have so
happiU' blended together and softened their peculiarities, and any
formality of construction has been .so lovingly and charmingly touched
by the artist hand of Nature and the mellowing effect of age, that their
stiffness is entirely gone, leaving only a quaint old-world beauty that
constitutes their greatest charm.

It is difficult to trace a time when gardens were first planted in
England as a pleasure and delight to the eye, and not merely for the
utilitarian necessity of vegetables for the table. We are apt to speak
f)f a formal garden as " Dutch " ; but it is certain that we possessed very
many beautiful gardens, full of trellis-work and terraces, and fearful and
wonderful specimens of topiary art, long before Dutch William brought

I oltcn, when a child, for hours

Tried through the pales to (Set the tempting flowers

As lady's laces, everlasting peas,

True-love-lies-bleeding, with the hearts-at-case.

And golden rods, and tansy running high,

That o'er the pale-tops smiled on passers-by.

59

Out in the rai

in a

world is growintt f£reen,

On half the trci

es quick buds arc seen

Where lil

ued.

-on buds have been.

Out in the

rair

> God's acre stretches

tirccn,

Its harvest

qui)

;:k thou)<h still unseen:

For there

the

Life hath been.

221 axi

his countryineii over to embellish the grounds at

Hampton Court and Kensington Palace. There

were probably gardens planted in Britain bj' the

Romans, as we know both the Roman and Greek

* nations carried the art to a very high degree of

. excellence. ]\Iedi;eval gardens were on very formal

lines, with flower beds in geometrical patterns, and

high stiff hedges. A beautiful description of a garden in the fifteenth

century is given in the " Kings Ouhair," when the Royal lover from his

prison tower sees his mistress walking in the garden at Windsor :

•■ Fast by the towris wall
A garden fair, and in the corners set
Ane arbour green with wandis long and small
Railed about and so with trees set
W'.-is all the place, and hawthorn hedges knet."

There is an indefinable "something" about these old-world
that appeals to us all, and the\- afford delightful
opportunities for the flower painter who would make
his studies from plants as they grow, for they have
the charm of a sentimental interest as well as a <

decorative one.

Those mossy flagged walks where bjgone genera-
tions have trod ; those richly-coloured old brick walls,
to which the old-fashioned clematis and roses cling
lovingly as of yore. Everywhere an old-world charm
that the flight of Time has enhanced rather than
lessened, for with the passing years the girth and
beauty of those majestic trees have increased, and
everything has settled into a great harmonious
" whole " impossible to find in the most carefully-
planned new garden.

Some of my earliest recollections are of an old
garden 1 used to visit in very tender y-ears ; and its
beauty so impressed m\' childish miiul that I can
see it plainly before me even now.

A broad flight of stone steps, mossy green and
splashed with orange-coloured lichens, led down from
the casement windows of the old red-brick house,
over a sinooth, sloping lawn gay with flower beds, to
where beyond, in the orchard, one came upon the
remnant of an old-time moat, its still surface thickly-
studded with water-lilies white and yellow, over
which the ancient apple-trees bent their gnarled
and whitened trunks, in spring shedding a shower
of rosy petals into the water below. An old

warden >

60

The woodr

hasty tect full

Shcltcr'd

old

halt-rottei

StUIT

IP beside,

The

sight V.

r il

chcc

r his s

oli

tary

hour

And i:

irfic his

Fee

brick bridge, flanked with somewhat dilapi-
dated statuary and vases, spanned this moat,
and everywhere the mosses, lichens, and
clustering ivy gave an added grace and
charm.

It is long since I saw that old garden :
the friends who owned it have passed away :
but I have often wondered if subsequent
owners have appreciated its dignified early
eighteenth century air, or v/hether it has been
fatally tidied up and " improved " to suit
more modern ideas !

In such a garden are studies in plenty :
the old-fashioned white cluster rose and
" maiden's- blush " climbing over a rustic \

arch ; the " herbaceous border " sunning under
the warm brick wall, the sturdy buttresses
of which are almost hidden with masses of iMj'

purple and white clematis in luxurious pro- vT '

fusion ; the water-lilies with their broad flat
leaves in large patches on the surface of
the moat, breaking the reflections of blue sk}- and dark trees.

In a little corner in a garden like this you have a study before }'ou
full of joy and delight.

That tall spike of madonna lilies, standing so freshly white against
the deep rich tones of the closely-cropped yew hedge, makes a picture in
itself; or that group of hollyhocks, showing out clearly against the sky
as we see it from our lowly seat on the grass — what brilliant colouring
of reds, yellows, and pinks, and how the large rough leaves throw up
this brightness to the best effect I

Then look at that orange-coloured climbing rose, and how delight-
fully its rich foliage and brilliant flowers harmonise with the old grey
stone gate-post over which it is growing !

Any of these will make a charming sketch in colour, but it must be
treated broadly m masses, for it is not possible, in this brilliant shimmer,
of outdoor summer-time, to copy accurately each flower and leaf

Our eyes are attracted by the beauty of the whole, more than by
individual blossoms, and it is to represent this general effect that we
must direct our best efforts, rather than by painting each spray for itself
as we have done in making single studies.

Perhaps you may think this sounds as if we must undo what we have
previously learnt with so much trouble and pains ? Not at all ! These
earlier studies have taught us much of form and colour, and this is
not only helpful when painting single specimens and sprays, but will
have given us a knowledge that will enable us to grasp their special

A Bunch of the

Waving Gay

Coreopsis,

In aii Old

The fairest flower

of the scAson
Arc our> carnation

cliaiacteristics more siirch- when working
from them as they grow.

It is a difficult matter, I l-cnovv, to mass
. these growing groups of flowers with good
effect, and to know exactlj- to which we
should give prominence, and which should
be quieted down and allowed to retire,
modestly and unobtrusively, into the back-
ground.
Look at that herbaceous border simply
flaming w-ith colour in the heat of the morning
sun. The brilliancy of the clumps of nasturtium,
marigold, candy-tuft, sweet pea, etc., is dazzling ; but
would it make quite a pleasing picture ? Everything
is in the same bright key, nowhere can the eye rest
from its almost kaleidoscopic effect. I think if it were
painted under these conditions it would remind us of some
of those modern atrocities of colouring in embroidery and textiles
that their perpetrators fondly call " Bulgarian ! " Now a picture
wants something more than a mere patchwork effect, however
beautiful the colours may be in themselves.

As our eyes are surely drawn to one object, and our power of
vision is attracted to one particular spot, so must we endeavour to
concentrate the attention of our spectator to one special [loint of
interest, some point that is arrestive of his first glance.
Having determined this, let the
composition contain some broad
spaces of restfulness and quiet, thus

and streaked not Only affording a welcome relief

:-i<v</,vi,,. '^o ^^^ ^y^> but by force of contrast

enhancing, in the most wonderful way,

the values of the brightness in the

principal interest in the whole study.

.And here we cannot fail to be
•struck with the immense artistic value
of a shadow. It is the same in picture-
making as in our lives, I think ; the
contrast of the shadow, through which
we must all inevitably jjass at some
time on Life's journey, has been of
great value in helping us to appreciate
the sunsiiine lying bej-ond.

Lately I have been engaged on
a commission to paint an old garden
full of flowers, and my client was

Em am Dlri

anxious the drawing should be kept " very bright and sunn}-, showing
a profusion of summer bloom."

The subject fascinated me, and I worked verj- hard at that picture for
some time, but with great dissatisfaction to myself, for although I had a
great many studies I had made from growing flowers to help me, and m\-
composition, with an old Tudor house beyond, and herbaceous border
and sundial in middle distance and foreground, composed well pictoriall}-,
I could not get an effect that
pleased me. Although it
all looked bright, it was not
sunny at all !

I suddenly thought, could
I throw a shadow, cast per-
haps by an old wall in front,
it might improve matters ;
and it was really wonderful
the difference it made to the
whole painting, for it at once
concentrated the interest of
the spectator on the sunn}-
patch beyond.

I think the most beau-
tiful effect of all in painting
flowers out-of-doors is to be
obtained, not when the sun
is at its highest, and in-
sistent on showing up ever}--
thing in a hard brilliancy of
light, but when, later in the
day, it is slowly sinking to
rest ; casting long shadow-s
over lawn and path, and
lending a kindly indefinite-
ness to distance, showing
ev-erything in broad masses

*^ And J

against the mellow light of The :

the sky, without worrying
the eye with minor detail.

It is almost impossible to get anythin
light has faded away, and the greyness of evening has taken its place ;
but once the general effect is caught, you will be able to work at it
again on subsequent evenings, when the conditions of light are the
same.

Always endeavour, when painting flowers or indeed an}-thing else
in water-colour, to keep \-our colours bright and fresh, and to work as

oS hoUyhoc
:in he faint.

n sip.

but a quick sketch before the

63

The columbines, stone blue, or deep ni^ht brown.
Their honeycomb-like blossoms hanginii down;
Each cottafie garden's fond adopted child,
Though heaths still claim them, where they yet gr

directly as \-ou know how, thereby avoiding the inuddiness so fatal to
good effect in everything, but perhaps most particularly in flowers,
whose brightness and freshness constitutes their own particular charm.

Look long at your models before putting brush to paper ; determine
your colours, and try them first on another piece of paper of the same
texture without making experiments on j-our study itself This careful
deliberation at the outset may be the means of saving you much trouble
later on ; it maj' save you the painful necessity of " sponging," or
" washing out," and thereby worrying the surface of your paper until
a roughened woolly surface is the result. Even the best water-colour
papers will not stand indiscriminate scrubbing. \'eteran water-colour
artists have told me that the paper we buy at the present day is vastly
inferior to that of the good old times, when linen rags, instead of cotton,
were used in its manufacture.

When once a water-colour looks dirt)% smudgy, crude, and dis-
appointing, I would infinite!}' rather commence an entirely new study
than spend endless time and exhaust my patience in trying to improve

the old. Clear fresh colour cannot
possibly be obtained over a founda-
tion of muddiness, and the use of
Chinese white is opaque and any-
thing but satisfactoi)-.

A fellow student of mine, who
was interested in flower-painting,
once showed me a study she had
made of some big field daisies,
and although she had taken great
pains with tliem, she was artist
enough to see there was some-
thing haixl and unpleasing about
the group : the greys were crude
ami ink)-, and quite unlike the
pearl}- purit}- of the shades in the
actual flowers ; the shadows were
heavy and dark ; the centres hard
and of a mustardy hue. She
asked me what she could do to
improve the whole group. " Re-
paint it entirely ! " I answered,
'' for I am quite sure it will never
look fresh and pure with merely
touching up."

She looked at nic with astonish-
ment and reproach in her eyes.
" Kff>niiit it ! " she exclaimed,

64

roiun-bi'i ,<f

Fltr.ver Piclur,

65

2m. sm.

" but think of the wastefulness of
using another piece of that ex-
pensive water-colour paper I "

I felt quite abashed at the
estimate she had formed of my wicked extravagance,
for artists' materials //o make a big hole in a limited
supply of pocket money ! Rut at the present time,
with matured judgment to help me, I still feel I was
right about it : it is impossible to avoid this apparent
^^^ waste at times, for wc must pay for experience in

"^^B everything, and the experience we have gained, even

from our failures, has not been lost.

That dirty, discarded sketch has taught us what
to avoid in our next effort, and surely that lesson is
worth a few pence spent on a piece of paper. If great
economy has to be practised, I would rather buy a
cheaper make of paper for these studies, which, after
all, are only stepping-stones to something higher, and
have no pretensions to being finished works of Art.
Whatman's " second quality " for students is reallj- quite
excellent material to work upon, being the " throw-
outs," i.e. slightly defective pieces of the finest qualit)-
made. Sometimes the flaws are unnoticeable, but in
any case it is quite good enough for practice, and
it is certainly better and more satisfactory to begin a
clean, fresh drawing than to muddle about in a desultory
way with Que already spoiled.

Of course, I know alterations are inevitable at
times. It happens occasionally that when a group is
nearing completion, a glaring fault in composition,
that has hitherto escaped our notice, strikes us in
the most unpleasantly decided way. In building up the picture, and
having it constantly before us da\' by day, its very defects have become so
familiar that wc have grown unconsciouslj- to consider them right. But
when once we have seen these mistakes, or had our attention drawn to
them by a candid critic, the)- obtrude themselves on us so persistentlj-
that we cannot rest until we have done our best to remedy them.

Suppose, for example, in painting a group of flowers we have,
unconsciously to ourselves, so arranged tbeni that the)* follow each other,at
equal distances (and perhaps in equal sizes), in a straight line, or perhaps
they are .so grouped that they mount one above the other at an angle of
forty-five degrees, like a flight of steps.

Once such a mistake is noticed we cannot help seeing it all the time,
to the total suppression of any excellent points there may otherwise be
in the painting of the pictuic. It must be altered, we feel, but how?

MoM bcAUtco

us when its flowers assu

Their autumr

L lorm ot leathery plume.

Bis/io/. .yfanl.

66

Don't do anything rash, for that is fatal. Perhaps, after all, a small
alteration is all that is necessary. For instance, one of the blooms in that
too obvious line may only require toning down so that it recedes into the
background, and so breaks the ugly stiffness of the straight row. But
which flower shall it be ?

It is an excellent plan, when in doubt on a matter like this, to make
a sort of a mask on another bit of paper, cut to the size of the flower we
wish to alter, and then, having roughly sketched in and coloured it
according to our new ideas, to try the effect of it in its place in the group,
so that we do not commit ourselves to any radical alteration before we
are quite sure the composition will be improved by it.

When actual washing out is unavoidable, it must be done with the
greatest care, and with as little scrubbing and disturbing of the surface
of the paper as possible. Put the water on the place you wish to wipe
out, with a soft clean brush, and (after having allowed it to remain a few
moments to soak out the colour) blot it up, with rag, sponge or
blotting-paper, with a firm pressure, but never rubbing it, and thereby
worrying the paper into a rough hairy surface that will give you endless
trouble when working on it again.

Do not attempt to do the latter while the paper is wet and wobbly,
for this is disastrous.

Sometimes a composition is spoiled by overcrowding ; this is ex-
ceedingly irritating to the eye, and must be changed, even if in so doing
we have to sacrifice some of the flowers on which we have lavished much
careful work. Too tightly packed a bunch is ugly, so some of the
blooms must be weeded out, and a little of the background shown
through.

Another fault to guard against is that of getting an equal amount of
background, of an equal density of colour, round each flower ; this is
quite unnatural, and very hard in effect. Faults of composition are
bound to come occasionally in the work of everybody, be he beginner or
Royal Academician : even the most talented painter cannot be sure of
all his works reaching the same high artistic level. h'ailures are bound
to occur sometimes, and so the true artist takes them philosophically,
and accepts the lessons they invariably teach. Leslie tells us, " It is the
happiness of a genuine painter that he is all his life a student. If the
education of such a one could be finished, his Art would become little
else than a mechanical routine of the pencil, and he would sink into
that large class who are dexterous in everything and great in nothing."

tf

1^

•5i^»~

A

a.

When the Chestnut Burrs are ripe.
67

68

■^."

IPaaiaMifiii liiu^m,

The s other day I was looking through an old, old book (one
of those " Albums " so dear to the early Victorian heart) on
whose tinted pages gentle slender fingers, now for e\'er still,
had delicately traced sentimental verses, elaboratel}- stippled
pencil drawings, and still more elaborate "groups " of flowers
in water colour.

If, as we are told, genius is "an infinite capacity for taking
pains," surely these little pictures have the stamp of genius
upon their shiny Bristol board surface, for how carefully and
laboriously has each little leaf and petal been shaded and
finished, and yet — how curiously unreal they are ! Were ever
there roses so round, so stiff, so " cabbagy " in shape ? And
were they always surrounded by those cold bluey-green leaves,
with their symmetrical veinings and serrations in a darker shade of
the same hue ?

There is usually a gaily-striped tulip in the same group, perhaps also
a polyanthus, and some forget-me-nots, but they are all of them very
well-behaved little flowers, and " keep their places " with wonderful and
quite unnatural regularity, as if each floweret and leaf had been carefully
gummed or pinned into position. While as for hanging over the edge
of the elegant vase in which they are placed ! — they are much too staid
and stiff to be guilty of such an impropriety I

There is a great charm in these little souvenirs of a bygone age,
with their memories, tender and sad, of those who have passed from our
sight; but it is a charm of sentiment and association, of veneration for
times of long ago.
As studies of
Nature they are
only of value in a

•^

jBfee

6g

IFaliiiiiicj

^S.

\

negative sense, just to show us what to a%'oid, so as not to produce
anything so absolutely unreal.

I sometimes think that in those far-away days there must have
been a sort of traditional method of painting flowers, both as regards
form and colour, and that actual study from Nature herself took a
secondary place.

Therefore let us put our old album tenderly and reverently away,

and tr\- to work on a distinctly different plan.

V I need not tell you our motto shall be absolute

fidelity to Nature, so far as our limited capacitx-

will allow, for whatever our talents, and however

we strive to reproduce the loveliness we sec,

our reproduction will be far enough behind the

original in beauty ! But at

least it is an honest effort,

and therefore more appealing

to a student of Nature than

the elaborate artificial " pretti-

ness " of the conventionalised

group.

However, our business to-
daj' is to paint roses, not
merely to talk of them, so, if
jou have your nicely-washed
palette and materials in readi-
ness, let us start without
further generalities : only \ou
must not feel discouraged if
I warn you that the task on
which you have embarked is
not an easy one ! Not only
is the rose one of the most
beautiful and fascinating of
flower studies, but one of the
most difficult as well.

We start, perhaps, a careful
drawing of a half-opened bud,
and even as we work its form
is changing before our eyes,
and the rose is opening her heart to the rays of light and warmth as
they fall on her from the window. We must lose no time in
sketching her in boldly before she alters too much, even if we have
to finish the details from memory or another flower. When called
away whilst painting roses (if only for a few minute.s) I always carefully
cover them up from the light. .A cardboard box (if sufficientl\' large

70

IP;

Notice the slight

reflected light on

the shadow side

near the edge.

see if vou sjet the

to avoid crushing the flower or group) will
answer the purpose admirably, and prove a
very efficient screen. ' ,

I think, for a beginning, it would be well
to make a study of the humble little wild
rose of the hedgerow. There is plenty of
scope for careful drawing in this flower
without our having to contend with the
difficulties of the multiplicity of petals
possessed by her prouder sisters of the
garden. Note the flimsy nature of the flower,
and how delicate pink shades to creamy
white ; also the lovely suspicion of pearly-grey
in the modelling of the petals.

Use thin rose madder for the pinky parts,
with a touch of aureolin to give warmth and
transparency to the reflected lights, and a
very delicate mixture of cobalt and rose
madder, with just a suspicion of yellow ochre,
for the pearly greys ; make a few dabs with
your brush on a piece of white paper first, just ti
mixture in right proportion.

And now perhaps we are more ambitious, and are longing to try
our hands at those great fragrant belles of the rose garden. It is an
education in rose drawing to go round and note the wonderful difference
of form in well-known varieties. There is a Gloire de Dijon (or
" Glory," as the gardener dubs it), cup-like and solid in form, with its
petals curving back in fascinating little points ; here is the old-world
" Maiden's blush," very flat when fully developed ; the " Niphetos," with
its tulip-shaped petals and drooping habit, bending over so modestly
that one has almost to kneel before it to see its lotus-like beauty ;
" Catherine Mermet," " La France," " Malmaison," and a host of others,
each with some special character of form. Suppose we take one of the
tea-rose family for our study. I choose this especially because of its
wonderful variety of colour, distinction of form, and also perhaps as a
little bit of personal sentiment, as a group of these self-same flowers was
the very first picture I ever exhibited and sold.

What a lovely contrast the creamy yellow of the petals, as they turn
back in graceful curves, gives to their under sides of warm, salmon-
like pink ! And I want you to notice most particularly the wonderful
depths of transparent colour in the heart of the rose, absolutely different
from the shadow side of the flower. I think this beautiful effect is
caused by the rays of light filtering through the
thin silky petals, reflecting on and intensifying the
colour already there. We cannot keep this colour

71

too pure and trans-
parent, and at the
same time tooquiet
and flat, so as to
give the idea of
depth. It must
recede, as it were,

and this will help your petals, with their creamy curved edges, to
stand out more boldly ; only don't make the latter too hard ; note
their modelling, and their almost opalescent shading of tender grey as
they curl over.

You will notice in flower painting of all kinds

what a study the texture and consistcncj' of flower

petals gives you ; the solid " fleshiness " of a camellia

t,^ jH or tuberose, for instance, is quite distinct from the

^W "IK velvety softness of a rose, and this again is quite

different from the flimsiness of an azalea or poppy.

Seek to notice individuality in different varieties
of flowers ; to understand their characteristics will
enable you to portray their beauties, not only with
greater ease, but with more intelligence and truth
to Nature. This is, as it were, the anatomy of the
subject, and I used to think such analj-sis was dry
and uninteresting in the extreme, that it was enough
to try faithfully to reproduce the beauty before me,
without bothering my head about drj-, structural
details.

I am older and wiser, and I see farther now.
Dry ! Why I Nature stud\- (even apart from its
application to Art) is one of the greatest delights
I know, however crude and unscientific our methods
of approaching it may be. And I am absolutelj-
certain that an intelligent knowledge of character
^ and habit is of immense help when we are struggling
with a subject like a rose, whose beauty of form is so
transient and evanescent that, even as we work, the opening petals are
confusing us and totally altering from the outline of our drawing, for,
without an intimate iniderstanding through practice and study, we arc
quite unable to grasp the general characteristics of line and form.

Although far from wishing my readers to follow the " cabbage-like"
form of the rose painting in the album, I would still wish to point out
that there is always an underlj'ing spherical (or perhaps I should say,
egg-shaped) form in a rose. The petals are wrapped round this, and,
however they unfold and change in shape as the flower matures, this
form is always there as a basis.

The wayside rose
Blossomed in every

fragile crimson

change.

i:. //.twilton KiKg.

'H 03 ss>

If you have ever had ain- lessons in model

drawing and shading, you will have learnt that in

any object of globular, or approaching globular,

form (such as an apple, orange, etc.), the darkest

part does not extend to the extreme edge of the

shadow side any more than the bright light falls

on the edge of the light side. The rough sketch

of apples at the bottom of page 71 will illustrate my

meaning more clearly. There is a slight reflected

light on the shadow side near the edge, while on

the light side the extreme edge is receding from

us, owing to the spherical form of the object, and

therefore does not catch the light so strongly as the

point nearest us. All this must be remembered

in shading a rose.

Half close your eyes to see your flower (or

flowers) in broad masses of light and shade. I

think I advised this in our talk on violet painting

in the first chapter of this book, but please excuse

me if I am rather insistent on it, for it is really

a wonderful help !

If our Editor will allow me space for a digression,

I must tell \-ou a funny little anecdote apropos of

this practice of mine. My mother, re-arranging

the walls of a room after re-decoration, with the

aid of a youthful maid newly imported from the

West Countree, asked the girl (from her elevated

position on the high steps) if a picture she had just

restored to its hook was hanging straight. The

damsel hurried to the other side of the room,

and stood gazing, head on one side, with such

violent contortions of countenance that my mother, somewhat

alarmed for the girl's sanity, asked, " Whatever is the matter with

you, Alice?" "Oh! please, ma'am," was the reply, "I was only

looking at it artistic, like Miss Maude ! "

Whether this startling per-
formance was a help to her to
discover the exact equilibrium
of the water-colour, and whether
I look quite so comical when at
my work, I don't know ; but of
this I am sure, we can judge a
general effect in broad masses
through our half-closed lids far
better than when,

'J^

'">

73

Pai-i-iiiLfi'c)

with wide-open eyes, perplexed with complications of detail, we sir
too vtticli.

What we must aim at in picture making is to reproduce not so
much what is actually before us, as what we see of it, what strikes us as
a first impression. If you are looking at a bunch of flowers, or still-life
group of any kind, your eye is sure to be arrested at once by some
prominent feature in it, probably where the light catches it most strongly,
and although the rest of the group is there, and you are conscious of
its presence, it is in a measure subordinated and subdued.

Our power of vision docs not allow us in the same moment to see
everything before us with the same distinction ; therefore, in picture
making, it is a golden rule to determine our principal point of interest
and concentration from the first, although, of course, this must not be
made too obvious and forced.

Above all, in painting roses (or indeed any other flowers) keep your
colours clean and pure. It is so easy to lose the delicacy and purity that
are the most beautiful attributes of these, God's gifts. Look at this so-
called white rose : hold it against something white, say a tablecloth or
piece of white paper, and you will be astonished to find it is simply
teeming with colour, a colour quite different from the hard bluish-white
of the background, and so delicate and transparent, so elusive and soft,
that we are almost in despair at the dinginess and smudginess of our
humble effort at reproduction.

I should advise a darker (but not too dark) background for this
subject, so as to throw the delicacy of the flower into better relief by
way of contrast.

Educate your eyes to see not only form and colour, but tone values
as well. Compare one object with another, and note their relations in
tone, colour, and form. Although you cannot be making studies with
brush and pencil all day, you arc carrying your eyes and brain about
with you all the time. Train them to take mental notes of what you
see around you, and train your memory to retain these notes : notice
comparative sizes of objects, colour, forms and shapes, atmo-
sphere, light and shade, and all the wonders around even the
most commonplace everyday life. There is an infinite fund
of material for \-ou wherever you go, whether your footsteps
lead j'ou by mountain or moorland heath, open common or
shady glade, by river or the wide .seashore, or even in the
squalor and gloom of a manufacturing town.

Just store up these impressions in your memory, adding
daily to the wealth of your store, and you will find they
become, not merely a help in your artistic efforts, but one of
\'our greatest possessions ami delights.

.^^

First of a\\ the rose: because its breath
Is rich beyond the rest, and when it dies
It doth bequeath a charm to sweeten death.

74

Ix our chats on flower- painting we have hitherto confined our attention
chiefly to the blooms, but I have been thinking for some time how
necessary it is, if we wish to be successful with our sketches from Nature,
to give some careful attention to the foliage as well. It is a subject in
which you will find most interesting material for study, and as much
variety as in the flowers themselves. Perhaps it is a detail that artists,
anxious to compose a group of bright colour, strong and arresting for
exhibition purposes, are rather apt to neglect. Very often a painter will
concentrate his whole attention on a mass of bloom, and when it comes
to painting the leaves accompanying the flowers, he will express them
with the merest blur of green.

But even in the slightest sketch there must be a suggestion of their
form and character, and this suggestion, achieved in a most wonderful
manner with a few well-placed dabs of a brush when a practised hand
has guided it, is the outcome of much preliminary careful exercise and
studv.

It is really rather a dangerous thing, I think, to try to imitate the
masterly " dashing " style of execution we admire in a sketch by a
skilled hand. At best our drawing, based
on the experience of others, can be nothing
but an imitation, and as such can only be
poor and weak. We have a far, far better ^

chance of ultimate success if we profit by " "■

our own observance and practice, and thus
form a style of our own, independent of the \

ideas of others. Don't try to be " dashy "
until the dashiness comes of itself By dint
of practice you are unconsciously learning not ,. ^

only to sec things correctly, but also the most »

y

Sycoiv^^t

■■"■^i*^

75

direct and the simplest way of ex-
pressing what you see ; you are
cultivating your own individuality
and style, not merely adopting a sort
of second-hand slickness based on
other people's.

Foliage at all times gives us much
to learn ; not only is there immense
variety in the structural form of
single leaves of different species, but
,,*« when we are drawing a spray or

i^'^ --*«& branch, the leaves arrange them-

selves in such a number of different
positions that no two seem the least
bit alike. Some, pointing towards us,
are a wonderful study in fore-
shortening ; some, receding from our
view, teach us perspective ; some are
slightly turned over, and give us a
fascinating peep at their under sides,
in many cases quite different in colour
and always different in texture. \'et
with all these differences of arrange-
ment, the actual form of the leaf as
we first saw it flat before us is still
there in e\ery one, and we must not lose sight of its character,
whatever its position on the bough.

The value of a spray of leafage as study of line cannot be too highlj-
estimated ; it is an excellent plan to make occasionally an outline
drawing onlj-, for no shaded group, however highly finished, can look
right if the foreshortening and perspective of its form is incorrect.

Notice carefully the characteristic shape of the leaves, and how this
form is .still there in them all in spite of the different positions in
which they fall. The centre vein (or mid-rib^ must not be lo.st sight of
in a study like thi.s, for it is mo.st important in determining the direction
of the leaf

It is wise, first of all, to indicate lis
direction of the main branch of the
spray, even before putting in the
leaves falling across it. It can easily
be rubbed out where it is not wanted
later, and it will not only help you
to determine its main direction, but

;htl\- with faint pencil lines, the

d

It

CCS. tan o

Aks.

and

Unar

led p

incs

tr
Id

d

ith Urcy-m
iched by »
ii- uniiathc

pade
red.

iTvosscs: here the
, and flowers sprir

Uround
li up

76

A c:

'Tis a bleak wild hill, but green

and bright
In the summer warmth and the

midday light;
There's the hum of the bee, and

the chirp of the wren,
And the dash of the brook Srom

the elder glen,
There's the sound of a bell from

the scattered flock.
And the shade of the beech lies

cool on the rock.

II'. C. Bryant.

you will also avoid the danger of getting a broken,
distorted-looking twig, which would be the inevitable
result if you tried putting it in bit by bit as it reappears
at intervals behind the leaf clusters.

Now, with still the lightest possible touches of your
pencil, roughly indicate the position and size of the
various groups, in their relation one to another ; and be sure these
positions and sizes are true before beginning a detailed drawing of
individual leaves. It is most important to do this, for it is a curious
fact that most of us when drawing anything not previously " roughed " or
" blocked " out, have a sort of unconscious, inherent tendency to enlarge
as we go on. Why this should be so I cannot tell you ; I have often
wondered about it myself.

Most of }-ou at some time in your
lives have amused yourselves with
drawing pigs with closed eyes ; possibly
some of your friends possess albums
full of these extraordinary specimens of
porkers.

You will notice in nearly every case
that when poor Piggy, commencing with
a curly twist of his tail, has attained the
dignity of hind legs, he has hopelessly
strayed away from the scale of his
original beginnings and absolutely
refuses to join up at all ! It is curious
that this tendency to enlargement should
show itself even in this childish game,
as well as in our serious studies. i

The newly-opened leaves on the jo0
lime-trees outside my studio window are
waving before me as I write. They
are still bright and beautiful in their
early spring freshness, though, alas, by
the time you are reading this, they
will all be smoky and begrimed. There

is much to be learnt from them before that, though ! Look at the
wonderful perspective, look at their subtle colour, and light and shade,
with the varying sunbeams playing around them, their form too
constantly changing as they bend to the breeze.

A casual observer would say they are all a bright fresh green ; but
you and I will go a little farther and notice carefully of what this " bright
fresh green " is composed. Although of not nearly so shiny a surface
as many other varieties, the lime-leaves have a certain power of reflec-
tion on their upper sides, and take a blue-grey light from the sky.

77

A Chat on
Foliage

Unwatch'd, the' garden bout<h shall
The tender blossom flutter down
Unloved, that beech will gather 1

This maple burn itself away.

Where the light is passing through them the leaves are translucent and
their brightest green. If the sun is shining this is so much enhanced
b\- its rays as to be almost golden, while the darkest parts of the study
arc those leaves so overshadowing each other that the light cannot
penetrate through.

Although I am limited to black and white in these illustrations, 1
have my paint-box before me to enable me to make experiments and
give you some idea (in words) of the colours you may find useful in a
study like this, although you must not take me too liteially.

So much depends on yourself, on the conditions of light under which
you work, and then again on the proportions of any mixture of colours
you are using, that it is almost impossible to give a formula for an\-
particular bit of colouring that is absolutely correct.

I give the tints as they appeal to my sense of colour, but thai
may be quite different from _\-ours, and who shall sa\' which of us
is right?

Well, then, the lime-leaves in their brightest parts seem to me a
mixture of aureolin yellow and Antwerp blue, in the sunlight the
aureolin predominating very largely. For the darker leaves and those
in shadow I should use raw sienna, Indian yellow, and Antwerp blue ;
while for the reflected lights from the sky I think a light wash of cobalt,
tempered with touches of rose madder and aureolin, would give the right
effect. The proportions you must find out by exi)erimental dabs on
your palette or a piece of white paper ; and do not forget these mixtures
admit of very great variety by altering their proportions, and the density
with which they are used.

Beware of getting the leaves cold in colour ; a too lavish use of blue
is to be carefully avoided ; remember always to keep your shadows
warm in colour, and lights cool,
but not cold.

The veining of the leaves we
drew so carefully in our outline
study must be very delicately
e.xpressed in our colour sketch ;

^

r^?^

i-X Vsi'sii: oil

perhaps the most sahent lines ma}-
be left white at first, and then lightl}-
gone over with a faint wash of colour
as the study nears completion, or
they may be taken out afterwards.
Using a fine sable brush filled with
clean water, we must delicately trace
their direction on the already dry
colour surface of our leaves, and then
with a clean soft rag and a firm
pressure, wipe out the colour. This
line will, of course, need touching up
after, defining here, losing there.

^

^sm

A spray of rose-leaves is a very
beautiful study. Take a single leaf
first and study its shape, noting not

only its form of five leaflets, but the way they are arranged on the stem.
The serrations on the leaves require care, they are not a mere jagged
edge, but each little spine points towards the tip of the leaf. Then
again notice the position of the thorns on the stem ; they are somewhat
hooked in shape, the prickly part pointing downwards. Nature has a
special purpose in arranging them thus, as they defy the approach of
predatory insects.

Some species of rose, like the Niphetos, for instance, have leaves
somewhat drooping in form, and in colour rather a cold dark green.

The foliage of the Gloire de Dijon is very beautiful ; the green is
bright but warm in colour, and slightly tinged with a bronze hue at the
edges. The " Griiss an Teplitz " leaves are a rich red brown. In every
case there is great variety in individual sprays. For the Dijon leaves 'l
would try aureolin yellow with cobalt, Indian yellow with emerald green,
and a mi.xture of rose madder and Indian yellow washed in lightly
where the leaves are tinged with red. Brown pink is very useful for
giving a warm olive tint in the depths.

I think it would be a most interesting and absorbing study to one
who had time to make it, and interest in the work, to sketch the leaves
of any particular tree at various stages of their development. Take the
oak, for instance. At the time I am writing, the new young leaves, very
tender and somewhat flabby in texture, are unfolding to the spring
sunshine, while the pretty catkins of the male flowers are still waving
in the breezes ; here and there a bunch of tan-brown leaves from
last year hang perseveringly on, having defied the winter's storms.

Then later on in the year the leaves will have lost their delicate
tints of early spring ; they are Sturdier and stronger, and darker in

1 windina eladc with leaflcl
h An odorous dewy dark im
nd maple and hazel caHed
into shadowy solitude.

79

colour, and their shape is more defined. Many of the branches have
produced a second crop of young leaves, Lammas shoots, as the
foresters call them, and their fresh light green makes a beautiful contrast
among the darker leaves. Soon — too soon, alas ! when we realise it is a
s\-mbol that summer is passing — these oak-leaves are again changing
in colour ; the light frosts of early autumn have tinged them with a
glory of variegated green and gold. Later on, when the frosts have
become more insistent and severe, these leaves turn a rich brown, and
frequently' cling, in a more or less crumpled form, to their branches
throughout the whole winter, giving a lovely patch of warm colour in
the greyness of a winter landscape.

He very careful, when colour is absorbing \-our attention and interest,
to avoid losing sight of the special characteristics of the form of the
leaves. Although I am general!)' very averse to exaggeration in
any form, perhaps it is better for the student to accentuate their
characteristics rather than to lose sight of them altogether.

In one and all of these studies we cannot fail to be struck with the
marvellous invention and the wonderful feeling for decorative effect
Nature shows us. The designer, whose art consists of the conven-
tionalisation of these natural forms for purposes of decoration and
applied art, finds much to learn from leaves.

Look at this sycamore leaf, for instance, and in it we see three most
useful principles of ornament — gradation, symmetry and radiation.

Take the leaf and stud}' its form. Notice, that in spite of the
serrations of its edges, what bold grand sweeps of form we see from
point to point ; this is gradation.

Look how this beautiful sha])e is repeated on both sides, reversed,

of course, in
direction, the
value of those
curves im-
mensely en-
hanced bj' this
repetition ; this
is symmetry.

Now notice
the wonderful
veining of the
leaf, and how
from the main
rib of tiie
centre the
lesser veins

A CJiiHi us

branch out, following the form of the leaf in a wonderful sequence of
lines ; this is radiation.

You will observe that, in spite of this repetition of form, giving
restfulness and unity, Nature is never monotonous. There are always
variations to prevent the design from becoming uninteresting. In the
leaf before us you will notice how the veins are finer and nearer together
as they approach the point, widening into stronger lines and wider
spaces near the broader parts.

What an immense influence natural plant form has had on art from
all time ! We can never be at a loss for subjects, and foliage especially
opens up a most wide and varied field for study.

F/tnt'cr Pictures.

82

Yi.>U may think it is unnecessary to devote
time to the special study of twigs and
stems, but in making a general flower
study we have our attention distracted by
\ so many and various interests ; and as

naturally our eyes are first attracted to
the more striking beauty of the flowers,
the delicacies and intricacies of the form
of the stems on which they grow is apt
to be slurred over, and not given the attention their im-
portance demands, while, once we have studied them for
themselves, we shall have obtained an appreciation of their
beauty of structure that malces it impossible for us to pass
them over with careless touch.

I really think they ought to take a most important
place in our Nature Study, for not only do stem and
branch control the direction of our whole spray, but they
give individuality and character to the various forms of
plant life in as great a measure as the flowers and leaves
themselves, and yet how often the drawing of them is
neglected ! A student will sometimes spend much time
in a careful endeavour to make a really faithful study of a
flower, but when he gets to the stem, he will make a few
hasty inconsidered strokes do duty for the expression of
it, or a careless jagged line, quite unlike the delicate and
characteristic forms he sees before him, if he would only
trouble to look.

I have only just to mention a few varieties of flowers
to show you the immense difference in the form of their
stalks and stems.

83

Compare the stalk of a rose,

violet, lily, primrose, harebell,

and any other well - known

flowers. Are there two in the

least bit alike ? And do you

not see that, if you do not

bestow the same care

and attention as you

have on the flower on

its necessary stem, much

of the character and

conviction of the former

is lost ? ^^'hy, the rose

stem alters even in

different varieties, and

though this may pass

unnoticed by a careless

eye, show a drawing

faulty in this respect to

an ardent horticulturist,

and he will pounce on

the error at once !

Look at the ethereal beauty of a harebell or a primrose

stem, and then at the sturdiness of a wild hyacinth, and notice

that it is not only in contour and consistency they differ, but

in texture as well. The bluebell stem is thick and succulent,

its surface smooth and shiny ; the harebell is so slight and frail,

it requires almost a fairy touch to express its airy lightness

?p f

the

primrose, though thicker, is still slender, and its hairy texture gives
quite a different effect.

Having noticed the form of any particular stem, our next step is to
spare no pains with its drawing ; if wc express it with a careless,
" wobbling " outline, jagged and irregular,
it will look poor and weak. We must
endeavour to get a firmness of drawing
into it with decisive lines, or what a poor,
broken specimen it will look ! This firm-
ness and precision can only come with
careful practice.

I am sitting as I write in our little
suburban garden, and although doubtless
were I in the country 1 could find many
more examples, there is still ample material
here to illustrate my meaning. Here is a
trail of young Virginia creeper. Notice its

H^^Vrrv

^iVigg aaid

round succulent stem ; it must be
drawn with firm clear lines (not thick
here, thin there), but with a decided
unbroken sweep from joint
to joint, where there is a
thickness requiring careful
notice ; at each joint are
two little sheaths, and they
have formed a protection
for the carh- stages of the leaf and its
accompanying tendril we see at each of
these joints. These stems, so tender
and brittle now, will become hard and
wood)- as the season goes on its way, and
the joints, each containing the beginnings
of a new shoot of its own, are part of the
plant's scheme of growth, and therefore
their importance must not be overlooked.
It is an inexcusable error, and yet an
error one often sees perpetrated, to draw a
spray thicker towards the point than where
it springs from its parent stem : it does not
require much logic to see that this is im-
possible. The sap must pass through that
lower part first, and if the stem grew thicker
instead of thinner, how could there be enough of
that sap, passing through a narrower channel
first, to nourish it adequately ? Look at the spraj'
of Virginia creeper, and you will .see that, beyond
the thickening incidental to the joints, each section
tapers the farther it grows awaj^ from its parent
stem; this tapering may in some
cases be very gradual, but it is
' always there.

This principle applies, of
course, to all vegetation : j-ou
will notice it especially in your
studies of trees ; a lesser branch
could not support a larger, and
if this simple fact were kept
more constantlj- before us, how
much truer and more con-
vincing many Nature Studies
would look !

86

\

ly:

^l^iliixljliiii CIdIdJ:!!?

It has been suggested to me that

perhaps it would be helpful if I

gave some details regarding the

colours I find most useful in

painting various flowers. If it is

possible to give you any hints from

my own experience that may be

useful to }^ou I shall be most delighted to be of service,

but at the same time I do not wish you to receive them

solely on my recommendation. If it were possible to work

from a stereotyped formula to obtain the lovely variations of

tone and colour Nature shows us under different conditions,

the charm and delight of sketching would be gone.

It is well-nigh impossible, when we sit before a group of flowers

ready to take their portraits, to tell off-hand what colouring we shall

use : we must, to a certain extent, experiment on each new study we

make ; for weather, surroundings, light and shade, and atmospheric

conditions make so vast a difference that the variations of both tone and

tint are very great. Even if we are working in a room, an overcast sky

will have a great effect on the lighting of our group. The colours are

more subdued, and perhaps seen in more decided masses of light and

shade than when a bright insistent light shows up the details more

strongly. On a sunny day you will notice wonderful warmth in the

shadow, and brilliant reflections that were lost when the light was greyer.

Then the surroundings of the room itself are also of importance ; for

instance, a room with light yellow paper on the walls must of necessity

give you warmer, more luminous shadows than a room where darker

tones predominate.

But even this is not everything. Perhaps the most important factor The liiac, various
of all in seeing colour is our own temperament, for it is well known that ^hitc,
no two artists see exactly alike. We have onlv to look around any of our Now sanguine, and

^ ' 1 r 1 ^"^^ beauteous

picture galleries to notice this, and if we could watch several of our best- head now set

With purple spikes
pyramidal ; as if,

Studious of orna-
ment, yet un-
resolved

Which hue she
most approves,
she chose them

87

known painters working from the same object, we should
be perfectly astonished to see the different interpretations
they have put upon seemingly very obvious things, though

all might be right according to their own especial scheme.

One ma\- see grey where another sees warmth ; but if each

sketch is harmonious in itself, it may be equally beautiful

and true to Nature.

It is this individualit)-, this seeing of natural objects
1 through our own unaided vision, that makes the stud)' of

yiv Art so alluring and so delightful. Of course, it means a
long and laborious apprenticeship to find out, with only the
aid of our great teacher Nature, by what colours we can best
express the impression formed on our mental vision of her
beauties.

Therefore do not accept any of the suggestions I give
here as final. Try them if you will, but do not take them
as hard and fast rules to be followed blindly. God has
given each of us a pair of eyes to see with, and we must use
those eyes themselves, not depending on the experience of
others, if wc wish to do good work.

It is rather difficult sometimes to answer a correspondent
who writes to ask what colour can be used for such and
such a flower. How can one give an adequate reply .'
What flower grows that consists of one colour only ?
Even if the petals do not, as is usually the case, contain
wonderful gradations and variety of colour in themselves, there
is generally a number of outside influences around to cause a great
variation in the local colour ; that petal, receding, is greyer in hue ; this
one, pointing towards us, is brightened by a brilliant spot of light ; here
the light is passing through a petal, giving a clear translucent effect.
Instead of one colour for that flower you will want man\', and if you love
Nature and are earnest in your work, it will be a joy and delight to find
them out unaided. I can (;nl)' hcl]) \'ou with suggestions and perhaps
a few general rules.

Here is a useful list of colours: — Rose Madder, Lemon Yellow,
Antwerp lilue. Raw Umber, Orange Vermilion, Aureolin, Cobalt,
Vandyke Brown, Light Red, Indian Yellow, Mauve, Raw Sienna, I^urnt
Sienna, Yellow Ochre, Brown Pink.

Experimentintl _, ...

with Colour. The woodbine,

climbini; o'er the

Now 1 expect we all of usremember howwe learnt, when our first colour door in bowers;
boxes were the joy and delight of our juvenile da\s, that red, blue, and ,„j^,j „j m?\n " "
yellow were the piiiiiary colours, and not to be produced bv nnv mixtures, mottu-d hue ;

' ' ■' I . . The pale pink pe.»,

and monkshood
darkly blue,

The white and
purple liilly-
flowcrs, that stay

LiniSerinii in blos-

half a%vay.

88

What delight and wonder it was to find that led and blue
made violet ; red and yellow, orange ; and blue and yellow,
green ! How assiduously we ground away at those hard
cakes of colour, and zc/z/jt a terrible mess we made of
them all ! There is just the same interest to be had in
experimental colouring now, fresh delights of tone, just as
fascinating as those earl)'' efforts, without the messiness !

Aly first essay into water-colour painting was, I grieve
to say, a surreptitious one. I had been punished for
some childish indiscretion, by being shut in an empty
room, my captors forgetting that a door communicating
with my father's study was open. Here, indeed, was food
for wonder and delight. Models of ships, curios of various
kinds, hitherto out of reach, I fingered with the enthusiasm
of a true daughter of Eve for forbidden fruit. But the
greatest joy of all was to discover that my naughty podgy
little fingers could slide back the lid of the old-fashioned
mahogany colour-box, and so disclose to view the treasures
within. Could a youthful soul with artistic longing with-
stand so great a temptation ? I commenced a series of
hasty "impressions" on note-paper, letters, anything I could
find about, hurriedly throwing them behind the writing-
table to avoid detection. And although a speedy retribu-
tion followed, for of course these works of Art were
discovered when the room was swept, I still remember that hou
stolen joy as one of the happiest in m\' life.

In a previous chapter I mentioned what a mistake a beginner makes,
if, instead of looking for himself, he relies on the colour tradition has
taught him to call his model from childhood. I have a half-finished study
of apple-blossom before me as I write. What colour is apple-blossom ?
Don't all answer at once, please, and say, " Why, pink, of course."

Look again. There is pink in it certainly : the unopened buds are
almost pure rose madder ; but what a number of other colours as well !
The wide-open flowers are not very pink, except on their under sides.
They are a warm white, with pearly-grey modelling to show the flimsiness
of the petals ; but it is a luminous grey, and, if I remember rightly, I
used a mi.xture of cobalt, aureolin, and rose madder to express it, with
aureolin and lemon yellow for the pretty pale stamens in the centres.
Some of the branches are lying on a white cloth ; this I have purposely
kept rather low in tone to enhance the purity of the blossoms, and indeed
their fresh warm whiteness did stand out in a wonderful manner in the
natural group.

A very general fault with a beginner at flower-painting lis that he

89

will try to paint a bloom with the colour he judges nearest in hue, and
attempt to get all its form and modelling, all its variation of tint, with
different depths of the same hue. This can never possibly look right.
The local colour, i.e. the colour of the flower itself, is only visible in
places, as a rule mid-way between light and dark, and the lights and
shadings we notice are caused by various influences and conditions
of liuhl.

CJt)"J©liT

It is vcrj^ difficult sometimes to get a student to see this grej- colour

caused by modelling and shadow, and when he does see it, he will

possibly overdo it, and thus get a hard, dirty, and cold effect. Some

will even use diluted black and call it grey. I once heard of a lady

who shaded a lily with Indian ink 1 But it does not require much

experience or even penetration to see what a dead effect this would

have. The wonderful pearl-like tints in the modelling of a white

flower, the beautiful luminosity in its depths, we have spoken of before,

but it is a point worth emphasising ; for, once seen aright, it will be a

study causing you boundless enthusiasm every time you try your skill.

In many cases, especially with yellow flowers, it is as well to put in

the modelling and shading on the clean white paper with a delicate grey

and let it dry before applying the local colour.

Many pigments resent being worked over after (lemon

yellow is particularly disagreeable about it), so it is

/ well to use them in pure washes as much as possible.

f How curious it is that the three primaries, the

brightest colours we have, should produce, when

mi.Kcd together in equal parts, the most neutral

colour of all, grey ! The proportions admit of

very great variation. For instance, a predominance

of red and blue, with only a dash of yellow, will

give a purplish grey, or yellow and blue in excess

will give a greenish grey. Take your colours and

make some experiments. For very delicate greys

use cobalt, rose madder, and aureolin, for a stronger

and darker one, cobalt, light red, and yellow ochre,

or cobalt and burnt sienna.

Mixing Colours.

Although such beautiful effects can be obtained
in printing from the three primary colours alone,
we who have a larger range of pigments at our
command will soon begin to notice that certain
colours possess qualities of their own lending them-
selves more readily and helpfully to particular

90

The wood is dccp-bou^hed, and its glade
Has ruts o{ waggon to and fro;

Yet where the print of urheel is made
The bracken ventures still to gro\v.

r. Conf.ni Hah:

mixtures than others. To make my meaning clearer : Antwerp
and Prussian blue are greenish blues, and therefore when blended
with yellow will produce a brighter green than would be the case
if cobalt or ultramarine had been used : the latter, having purplish
tendencies, makes excellent mauves, purples, and violets when mixed
with rose madder or crimson lake. Then, again, vermilion, an
orange red, makes a more satisfactory orange colour if mixed with
Indian yellow than if a pinkish red had been used, while, on the other
hand, mixed with blue, it would have been anything but a satisfactory
purple.

It is only experiment and experience that will teach you the special
characteristics of various pigments, and this all comes with practice.
You will notice that rose madder, Prussian blue and Indian yellow are
transparent colours, while yellow ochre, light red, vermilion, and lemon
yellow are opaque ; this, of course, gives a very different quality to our
work, and must be remembered in mixing.

Brown pink is useful in giving a very beautiful warm olive tint to
green, but it is rather a gummy colour, and, if used too heavil)-, will
always have a somewhat sticky effect and never properl)' dry.

Sometimes brilliancy of effect is better gained by using colours in
single washes, one over the other : for instance, if a light wash of
Antwerp blue is put on a leaf, allowed to dry, and then a wash of
aureolin is applied after, it will probably produce a more intense green
than if the tints had been mixed first
on a palette in the ordinary way.

The Use of Chinese .''' '

I do not as a rule advise the use
of Chinese white to students ; it is
rather tiresome to manage, and is apt
to give a hard opaque look to water-
colour drawings ; whereas, especially
in painting flowers, it is a great thing
to aim at freshness and transparency
of effect.

If you feel a touch of brighter
light is absolutely necessary to a
drawing, and the colour you wish to
remove has stained the paper too
deeply to admit of washing out, do
not mix your tints with the white on
your palette ; put a sharp definite
touch of pure Chinese white on
first, and when it is thoroughly
dry, lightly glaze the local colour

91

and shading on after ; this wil
and less iTiess\- effect.

ha\e a far better

I have cautioned you against the indiscriminate use of wliite,
and now I must add a word of warning about black as well. One
of the most usual mistakes a beginner makes is that, in his anxiety
to make a forcible study, he will put in the darkest
part with a strong, hard black, quite out of keeping
with the general tone of the drawing.
/ .^ I remember the time when I was a \er\- big

""■A,, ""^ offender in this way myself, and can recall with
amusement an early attempt at portraiture, when,
with the idea of giving expression and beauty to the
dark eyes of my sitter (a patient and long-suffering
cousin), I made them so staringly black that one
of my family critics aptly remarked, they looked " like two holes burnt
in a blanket ! "

This was not the only case. Anxious to get a strong efiect, I intro-
duced little bits of pure black in all my flower groups as well, with such
appalling results that one daj' my uncle kindly but firmlj' abstracted the
offending pigment from my box, advising me to try how I could get
along without it. And although for a time I missed it sorely, I found
ultimately I could do so well without its aid, that I have never used it
in my flower studies since. I find that even in the deepest parts, a
mixture of cobalt and vandyke brown will give me quite as dark a tone
as I am likely to require.

There is very little hard black or crude white in Nature as we see it :
even a piece of pure white paper cannot appear purely white to our sight,
for outside influences and conditions modify it to a great extent, a shade
here, a reflection there. In the same way a black object is never purely
black, but is subject to great variations of tone resulting from the
proximity of objects around, which rellect different colours into its
surface and texture.

In looking at a mass of white flowers how much do we see that is
really without colour and tone ? The mass must give the effect of white,
and broadly speaking it is white, but so tempered by modelling, te.xture,
reflection, and shadow as to only show really white on the points
where the light fails
strongest. It requires
great caution, great
restraint, to see this

and not overdo it: ^ . • ^"^ ^__^.

remember it is a
mass of light in the

92

light, though subject to local influences, and as such the shadows can
never be so dark and strong as on the shadow side : meaningless little
bits of dark cutting it up will look hard and out of place.

Complementary
Colours.

I dare say you know that every colour has its complementary one, and
unless you are colour-blind, it is easy to find out what it is for yourself.
Put a dab of bright colour (red, for instance) on a piece of white paper,
look at it intently for a few seconds in a strong light, and then at once
on a blank space on the paper. What do you see? Instead of a red
spot you see a green one, and by this simple test you can learn what is
scientifically the right colour to use if you wish to
intensif}' another by contrast. As an example, you
may have been painting a field, and you think the
grass looks rather dull in hue ; put a few scarlet
poppies in the foreground, and the effect is almost
magical. Red, as the complementary colour to
green, has enhanced and intensified the strength
of the latter.

Speaking in a broad sense, the three primary
colours, yellow, red, and blue, may be said to
represent light, colour, and shade. There is always
a great deal of yellow in sunshine and sunny
effects. Look at a leaf with the sun glinting
through, and note how much more yellow it
contains than it would on a grey day 1 Red is
expressive of warmth ; while blue without doubt
gives an idea of distance and quietness, because
mist in the air being blue, it subdues and qualifies
the colour of objects that are far away.

Sometimes when a study is nearing completion,
we notice there is something inharmonious in the
colour. Perhaps it looks cold, the shadows are
too grey and want warmth in the reflections. Very

often we have painted at different times under different conditions of light,
consequently the work does not come together pleasingly as a whole.
Sometimes a little warmer colour worked judiciously into shadows and
background will be of great service ; sometimes the latter may require
a grey tint worked in to quiet and subdue it.

It is necessarj', when painting groups of flowers in colour, to arrange
the colours of the relative objects in the composition, so that, by
harmony and contrast, they are helpful to each other.

Suppose, for instance, you painted some apple - blossom, always
rather a cold pink, in a blue jar against a grey background, the effect
would be cold in the extreme. But if the background had been

Oh, the sweet dried lavender!

Oh, the more than scent in it !
The butterShes and the bees astir,

The pipe o5 linnets pent in it!

91

a warm colour, with perhaps a good deal of olive brown predominating,
and the jar a warm grey or biscuit colour, the effect would have been
infinitely more pleasing to the eye ; because, not only would the richer
colouring have acted as an agreeable contrast to the delicate purity of
the flowers, but the presence of warmth and colour in the surroundings
would have cast reflections of warmth into the shadows of the flowers
themselves.

What I have previously tried to impress upon j'ou of the value of eye-
training to see form and effect applies with equal force to colour.

Studying
Colour

Indicating ihe general outline of the

group, before working at the detail.

as described on page 102.

Rough sketch showing main
direction of the blossoms.

The outline dr.

The finished sketch

94

Ix these talks on flower-painting I have addressed myself chiefly to m\-
fellow-students in Nature study, and, therefore, perhaps I have rather
ignored the elements of first practice. But, in talking over our subjects,
Miss Klickmann and I have come to the conclusion that an article
written especially for beginners might not only be useful to new recruits
in the ranks of flower-painters, but to those of us who may also wish to
give instruction to others. Therefore, in this chapter, although I am well
aware I lay myself open to the accusation of having " put the cart before
the horses," I shall say a few words about first beginnings in Art, those
beginnings that are all-important to the student, and which show, even
from the earliest times, the capacity for, and love of, Art, that with the
very necessary attribute of perseverance make for future success.

Most young children learn a little drawing, even in their
" Kindergarten " days, and as a training for eye and hand, and, above all,
for impressing the memory, it is an excellent method. But the child
who has a latent talent will go further than this, his pencil has so great
a fascination for him that every scrap of paper within his reach is covered
with the curious forms and shapes evolved by his childish bram ; at
first so rude and rough that their meaning and intention is so obscure as
to be quite unintelligible even to the fondest and proudest parent, but
gradually as his perceptive faculties develop, showing not only an
intelligent idea of proportion and line, but wonderful flights of
imagination as well.

It is well to encourage these early eff'orts, and not to be contemptuous
even if the youthful artist has attempted a subject a great master might
approach with awe. There is no irreverence really in those travesties of
great subjects treated so naively ; the little brain has adapted the stories
of old to his own limited understanding and his own time, and to him
this conception is very real and true.

I think, however, it is a good plan, without attempting to cramp these
•weird flights of composition in any way, to encourage a child to draw the

He is deal who has never heard
the singing ol the blades of grass.

E. GOjson,

95

Sweet is the air with the buddini< haws,
the valley stretching for miles below

Is white with blussominU cherry trees, as
just covered with lightest snow.

things he sees around him, the simple objects connected with his home
life. He can learn so much from this. There is no better practice
possible, for he is training his eyes to see for themselves, without merely
following the lines of a set copy in a mechanical way. It does not
greatly matter what subject is chosen — -a flower, leaf, jug, or watering-
pot — -there is a lesson in one and all.

Many an older and more advanced student would find much to learn
if he would only practise making carefully considered drawings of any
of the commonest objects surrounding him in his daily life. But, alas !
he is far too often fired with the ambition to " make pictures " at once,
and, seeing a pretty and brightly coloured lithographed " copy " in the
window of a colourman's shop, he promptly steps in to hire or bu\- it,
and starts to work on an elaborate reproduction of it. What a la/.}'
method of learning Art, and what a pitiable waste of precious time !

Now suppose, instead of this futile dabbling, we make up our minds
to have some regular and earnest study from flowers and plants ;
their endless variety gives us a very wide field for learning both
beauty of form and colour, and surely they are far more interesting
and delightful to work from than the complicated examples of
the free-hand copybooks.

The First Essentials.

Although colour - work is so tempting and
fascinating, 1 would advise a beginner not to yield
to its seductions too often ; rather to give his whole
attention, for a time at least, to proportion and form.
No amount of colour, however beautifullj- and subtly
blended, will cover the glaring defects of bad and
weak drawing. As he advances with careful
practice, and his touch becomes more sure and
true, he will, I am certain, begin to think a simple
blacklead pencil is a most delightful possession,
for he will find how very much can be expressed
by tills primitive medium alone.

If }ou have ever been fortunate enough to
see the sketches by Holbein of the celebrities of
the Court of Henry VIII. in tiic Royal Library
at Windsor, \-()u will understand exactly what I
mean. To me this masterly precision and sim-
plicity of line is far more wonderful and more
inspiring than even the most famous of the
master's oil paintings. Such delicacy of execu-
tion, and perfection of form could only be the
outcome of long and patient years of study of
line alone.

M

r //

\}f<i^^,

0)ir,_ /

poot

96

Some J-l£mis io

\,

Colour is sometimes rather a snare to the

student ; he is apt to be led away by its

beauties, and to be slipshod in his expression

of form. There is a most dangerous pitfall

for the unwary. It is true that many great

artists can give a wonderfulh- realistic idea

with a few bold touches of a brush, but for a

student to attempt to paint on the same lines

would only show disastrous results. Ruskin

.speaks very strongl)- on the subject. His

remarks are at too great a length to quote

here fully, but the substance is this : that

nothing is to be learned, especially in

sketching, b_\- precipitation ; and he de-
nounces, in a most decided way, those

manuals on Art professing to give hints on

"touch" and "style" to amateurs and

students. He says most of them " praise

boldness, when the only safe attendant of a

beginner is caution ; advise velocity, when the

first condition of success is deliberation."

Suppose a student in a school of Art,

just promoted to the dignity of the Life

Class, had been to get ideas and inspirations

from, say, the masterly portraits of Sargent.

Suppose that in his first studies from the

living model he tries to imitate the broad

brush-marks he admired in the master's work,

would not the result be terrible ? But this

fatal imitation of style, or rather miserable

attempt at it, often happens. Who could

e.xpect, on a first trial, to imitate the

dexterit)' of a man who has given years of his life to attain that

dexterit)- ? It would not be good for us if we could, for it is only
b_\- careful and patient observation of Nature for ourselves
that we can ever hope to understand her, and by doing
so, produce work, if not great, at least possessing the
elements of individuality and truth.

Therefore, although it is a great thing to aim at
broadness of effect and simplicity, the student must not
fall into the error of imagining that this is analogous to
a careless and hurried disregard of accuracy of form.
The conscientious student who has perhaps somewhat
yrw-claborated his drawing has often gone further towards
a true understanding of his subject than the more superficial

he

y tree un?oIds
beauty; the
tstnut uplifts
r flame
hitc

and red ;
the vine droops
with the new-
formed grapes ;
the larch extends
arms of longing :
and I break into
praise.

E. Gibson.

Fioirer ricturc

97

materials : What

I kno%v

> th.

thymt blows,
Where oxlips and
the nodding
violet ({rows.

one who imagines tliat with a chish)- t(.iich he has "suggested" his
meaning and created an "impression" — olten aiKitiier way of excusing
laziness.

The Question
of Paper.

If, as I earnestly hope, my readers have taken sufficient interest in
these little articles to be anxious to take up flower-painting thoroughl_\-
and seriously, and not merely as a desultory pastime, let us get to
matter-of-fact hard work and practicability. I''irst, a word as U)
id of pa])cr shall wc u.sc ? For earlier practice
with pencil it matters little ;
cartridge paper, note paper, any-
thing will do. But if we are
using water-colour it behoves us
to be more careful in our choice.
Whatman or '' O.W. ' are both
excellent papers, but the cheaper
makes arc rather thin in sub-
stance, and consequently liable tcj
cockle when a broad wash is put
on. This is very troublesome and
annoying, and it is necessary to
stretch the jiaper before using to
counteract this as much as possible.
The usual way is to damp the
whole surface of the paper with
a wet sponge, except about three
quarters of an inch of the edges
all round, which edges have been
previously carefully folded down
to prevent the water touching
them. Then, when the wet on the
surface has somewhat dried off,
leaving, however, the paper still
bank thoroughly damp, strong paste is put on the dry edges, which arc then
firmly fixed to the edges of a clean drawing-board. After the water-
colour is finished these edges are cut awa_\' with a sharp knife, and the
drawing comes off the board quite flat.

This is the method usually adopted in schools of Art. Personally I
prefer working on paper previously mounted on millboard, which \ou
can buy ready for use. It is certainly more exjiensivc, but far more
satisfactory in working, for altiiough a paper stretched on a board in
the ordinar}' way may be quite fiat when it is thy, it has a nasty habit
of cockling when wet in the working, and this is very irritating to the
worker.

g8

liii :Hixi-J:s -io

Liiijij

^^

t-

At one time I ahvaj-s mounted my
own paper. Taking a piece of Whatman,
and a stout sheet of millboard the same
size, 1 damped their surfaces with a wet
sponge or rag, and when these had
expanded with the water, and their
surfaces were sufficiently dry to take it,
I thinly covered them with a paste of
flour and water, or starch (the latter made
like the "boiled starch" used for laundry
purposes, only not so diluted with waterj,
and stuck them together. The paste had
to be ver\' evenly distributed over the
surfaces, without lumps, and the whole
carefully dabbed and stroked on the
painting surface to exclude any air-
bubbles formed between, before being
firmly tacked out round the edges on a
board and left to dr)\

There is a good deal of trouble
attached to this method, and when one
considers the time it takes, and the risks

of spoiling or damaging the surface, I reall\- think it is not very
extravagant, when we contemplate making a finished water-colour, to
buy "Whatman's Mounted Board," or "ordinary millboard faced with
O.W. paper." These, as well as the unmounted papers, can be bought
in " students' " as well as " artists' " quality.

Whatman is supplied in three surfaces, " hot pressed," " not," and
" rough." The former has a smooth, ivory-like surface, only suitable for
small, fine work. For all ordinary purposes I would recommend you to
use the "Not" paper, which has just enough grain and "bite" in its
surface to take the colour nicely ; while for big, bold work on a larger
scale the rough surface is delightful.

If the drawing is to be framed on completion, it is absolutely necessary
that it should be worked on a mounted board, or it runs a very grave
risk of wobbling after. Often the board backing of new frames is put in
with rather green wood, and of course this, pressed as it is against the
back of the drawing, pulls it out of shape as the wood gradually dries. I
noticed the effects of this \zxy strongly on varnishing day at the Royal
Academy recently in the black and white room. Many beautiful
proofs of etchings, especially those on Japanese paper, were quite
distorted and wavy, and the Royal Academician who was respon-
sible for the hanging of that room told me that in some cases
this had been so bad that the artists had been obliged to have their
jjictures down, and to substitute new proofs in their places.

■^. ;

99

1 have previously given you a
list of colours that I think you will
find useful ; now a word about
brushes.

These form rather an expensive
item in our painting kit. A good
sable brush generally costs several
shillings, the price, of course,
varying with the size, but it is
better to get accustomed to using
rather a large one. I think, there-
fore, it would be a great ex-
travagance to advise beginners to
use highly-priced sables for the
purposes of study. The " Siberian Hair,"
or " Mincat Hair" brushes, made, I think,
by Messrs. Reeves, will be reliable and
useful for first practice, and the luxury and
delight of the more expensive sables must
be postponed for more advanced work.

For broad surfaces, backgrounds, etc., I
am very fond of a hog's-hair brush, and
these do not cost nearly as much as sable.
The length of life of a good brush
depends very largely on its treatment ;
with tender handling it lasts a long time,
but if it is heavilj- dug into the pans of colour,
or pressed hard against the bottom of the
water-pot, the sharp tin edge of the ferrule
will cut the delicate hair, and completely spoil
it. After use, the brush must be washed, wiped,
and stood in an upright position to drj", for
it is most essential that its point should be
preserved. I keep my brushes heads up, in an
old brown ci-eam-jug, and sometimes, when in
my absence from home my studio has had a
drastic cleaning up by inartistic hands, I have
found this position tidily reversed, with most
disastrous results.

Your Position when

N(jw as regards the position in which you
sit : for big bold work 1 would stronglj- advise
you either to sit or stand at an easel, rather
than work in a cramped position over a table or

intended, and nf course tliis is v
am rather an impatient person,
and off those Httle metal caps
anxious to use cvcr\-
minute on the actual
painting of the llowers
before the)' liavc had time
to wilt and fade. There-
fore I prefer pan colours,
and I generally buy- half
pans. The price works
out the same exactly, and
I think it is an advantage
to have the colours fresh.
It is necessary to keep
them ver\' distinct and
clean. The merest streak

Blissfully did one speedwell plot beguile

My whole heart 1ont<; I loved each separate flc

desk. I know that for small work
the latter is sometimes ine\'itable,
but it is e.xtremel)- bad for the
health to work in this position for
any length of time, as I have found
to my cost. If \'ou w«.v/ work at
a table, be sure your drawing is
arranged on a slant: your ordinary
board tilted up at the back on a
firm book will suffice.

A glass pickle-jar makes an
excellent water-pot, I think, far
better than a china one, for it
enables us to notice at once when
the water has become stained and
muddy, ami that replenishment is
necessary ; for dirty water means
dingN' colour in \'our drawing.

Water-colours are supplied in

tubes like oils, and seem to have

gained much favour in this form.

Undoubtedly they have the ad-
vantage of keeping pure and clean,

but they have their disadvantages

as well. Sometimes one is apt

to squeeze out more than one
ery wasteful. Personally, I am afraid I How many sun«
and the time consumed in screwing on _'* *^^^^

^ To n\akc one

fidgets me immensely just when I am speedweu blue.

-*Wel

'■■ M'

of Antwerp blue, for instance, straying intf) a mfiist nnin\- colour
like Indian yellow would effectually spoil its use as a [lurc colour
for all time.

For lightls' sketching in a group 1 think 1 prefer a B pencil to tile
V I have generally heard recommended for the purpose, because the
B is softer and more easilj' rubbed out, but above all things it must not
be used heavily ; the lightest, most delicate touch of which you arc
capable must suffice.

^^JjfM

Do not have your model too near ; you can get such a much better
idea of general proportions and also of light and shade at a little
distance. You can always move a little nearer when )'our study is
sufficiently advanced to require detail.

Notice very carefully the main direction and general form of yuuv
group and mark it in. In the examples I have drawn for you in a
group of daisies (page 94) I hope you will be able to follow what I mean.
You will see I have indicated the shape of each flower bj- rough circles
varying in perspective according to the position of the blooms, and that
their stems are expressed by sweeps of the pencil to indicate this
direction even through the flowers themselves. This is, as it were, a
rough ground plan of the general form of the group, and of course it is
subject to variation as we draw
in the petals, where some overlap
the edges.

As these were drawn with the
idea of the necessities of repro-
duction before me. 1 ha\c been
obliged to make the lines much
firmer and harder than I should
do if I were making the study as
a guide for my own use ; in that
case the lines would be as pale
and faint as it is possible to
make them.

Tiie second stud\' shows the
drawing ready for painting, onl\-,
of course, it must be rubbed down,
preferably with soft clean bread,
until the merest shadow of a line
is left, just enough to guide )'OU
on your way, for once a drop of
water gets on a strong pencil line
it is "set" indelibly, and quite
immovable afterwards.

Now comes the actual painting. Look at
your models with half-closed eyes, and notice
how the whole group strikes you in broad
masses. A little thought and care in coin-
mcncing, in order to gain a general idea of what
}ou are going to do, will be ultimately a great
saving of time, giving you also much better
results than if you had rushed at your drawing
precipitately. Get this general idea expressed
in your study before attempting any distraction
of detail — this comes later.

If you are desirous of laying a flat wash
over a large surface, I think you will hnd it a
good plan first to moisten the whole space
that \'ou intend to cover afterwards with
colour, with plain water used in a large brush.

Have your colours ready mixed in a deep di\ision of \'our palette or
a clean saucer. This colour must be absolutely well mixed and free
from dirt or dust. Some people even go so far as to rub the mixture
with a cork to remove all possible grit, but high-class water-colours are
generally so beautifull}' ground as to render this precaution unnecessar)'.

The wet surface of the paper underneath the wash of colour helps the
latter to run more freely when we put it on, but of course it must be used
a trifle stronger in consetjuence. If it is necessary to put a second wash
over the first, be very careful the surface is perfectly dry before
attempting to do so. Sometimes a second brush, filled with clean water,
is very useful in softening the edges of a flower, and preventing a hard
line, when the wash has dried ; but do not overdo this, and thus produce
a " woolly " effect ; a little sharpness here and there, so long as it is not
hard, is often rather helpful than the reverse.

Strive earnestly always to make your studies as true to Nature as
your gifts and powers will allow. If you are drawing a simple daisy, do
your utmost to make the most of its character and form ; do not persuade
yourself that a few flat white dabs, distributed evenly round a yellow centre,
is an adequate expression of its beauties. Look at a group of the flowers.
Do you see two of them exactly alike? One of them is so foreshortened
that we only see a side view of it. Notice how the petals, slighth-
curved from caly.x to points, give us fascinating little peeps at their
under sides, and what careful drawing is necessary to express their form
adequately.

Endeavour in each of your drawings of flowers to make a special
study of the character of even the smallest. Do not think that any of
these gifts of God can be expressed in a careless or hurried manner.

And

there

upon

the

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Gro

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ivy's

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pie bios

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show.

Like

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ight

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103

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^"i^)f^-ff>^ Black.

"€:

FrinM hy K. &■ K. O.AKK. I.imijh, l..t,nh„r.-l,.

Angell°Maude/Floyver pictures

3 5185 00079 9088